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"content": "\u003cp>\u003cem>Editor’s Note: KQED Arts this week premieres ‘Backstage Heroes,’ a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem> — where her ‘\u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">Music Heroes\u003c/a>’ series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The Hemlock Tavern on\u003c/strong> Polk Street is an international destination for music — “unconventional, not necessarily commercial, artistically adventurous music,” says the venue’s booker, Tony Bedard. For the past 13 years, Bedard has been in charge of which bands step onto the Hemlock’s small back-room stage, a fact as surprising to him as it is necessary to anyone who loves independent music.\u003c/p>\n\u003cp>Today, Bedard has his back to a set of giant plate-glass windows that look out to a sunny day on Divisadero near Haight. From my vantage point, his face is in shadow, but I can easily make out the crown of curly black hair against the bright windows. And that’s one of the interesting things about Bedard: He’s a vital element of San Francisco culture, but he’s hardly ever the one in the spotlight.\u003c/p>\n\u003cp>“I was working at Mission Creek Café on Valencia Street, which at the time was owned by my bandmate,” he tells me, explaining he got the job at the Hemlock in the first place. He’d been laid off from a better-paying job doing film and video production at an advertising agency (“I worked with the woman who invented the whole concept of ‘Supersize,’” he says with a vocal eyeroll), but he was getting by, thanks to a rent-controlled apartment.\u003c/p>\n\u003cp>Then one day in 2002, Don Alan, the new owner of the Hemlock, walked in and asked him to interview for a band-booker job.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My first instinct was like ‘No way,’” Bedard says. “And then I turned around and saw the huge stacks of dishes that were awaiting me, and was like, what am I, crazy? I have to at least talk to them.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10746938\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10746938\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/HemlockFront.jpg\" alt=\"The Hemlock Tavern on Polk Street. (Photo courtesy Hemlock Tavern)\" width=\"640\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockFront.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockFront-400x362.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Hemlock Tavern on Polk Street. (Photo courtesy Hemlock Tavern)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>And that was that.\u003c/strong> The two men formed an alliance, with Bedard immediately insisting that they focus on two basic ideas: “Make things good for the audience, and make things good for the bands.” Alan’s thinking was along similar lines.\u003c/p>\n\u003cp>“Very early on,” says Bedard, “he told me, ‘I don’t want you just booking by the numbers. I don’t want you booking what’s going to be the most popular thing.’” That came as no surprise, since before the Hemlock, Alan owned Radio Valencia, a much-loved, fearless music venue in the Mission District.\u003c/p>\n\u003cp>“It was a key west coast venue for a lot of free jazz people, John Zorn played there, plus there was a lot of bluegrass going on. And then Don also came from a public radio background, he co-founded WORT in Wisconsin in the ‘70s, and after that he ran a live music café-restaurant.” Bedard pauses; Alan’s dedication is one of the few subjects that doesn’t eventually set him off laughing. “He says this all the time: ‘We’re not getting rich. We do live music because we love it and we’re obsessed with it.’”\u003c/p>\n\u003cp>And Bedard is obsessed. Starting with guitar lessons at age seven, moving into choirs and choruses in middle school, and reaching an apex in (public!) high school with an intense chamber ensemble vocal group that covered fifteenth-century Italian madrigals as well as Earth, Wind, & Fire, live music has played a part in his life almost daily. Moving to Boston for college, he became a dedicated fan of rock music, thanks to an incredible-sounding scene there in the mid-‘80s, full of great radio stations, lots of places to see music, and touring bands like Sonic Youth and the Butthole Surfers. Arriving in San Francisco post-college, he took up the drums, becoming a self-taught member of several bands, touring, playing, and continuing to go to shows. In addition, starting in college, he started booking events — mostly lectures, big ones, for big audiences: Noam Chomsky, Angela Davis.\u003c/p>\n\u003cp>He won’t say it outright, but it’s pretty obvious that Tony Bedard has always been the organized one, and probably the responsible one as well. Surprisingly, this has not made him bitter. Quite the opposite, actually — while other bookers succumb to jadedness beneath a daily pile of poorly written band bios in booking requests, Bedard takes the more absurd ones and posts them on \u003ca href=\"https://twitter.com/Folder_Rock\" target=\"_blank\" rel=\"noopener\">Folder Rock\u003c/a>, a Twitter account that for anyone who’s been on the receiving end of press releases is familiar, cathartic, and hilarious.\u003c/p>\n\u003cfigure id=\"attachment_10746939\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10746939\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/HemlockStage.jpg\" alt=\"The Hemlock's small back room.\" width=\"640\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockStage.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockStage-400x362.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Over the years, Bedard has booked over 10,000 bands into the Hemlock’s small back room. \u003ccite>(Courtesy Hemlock Tavern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let me pause to\u003c/strong> explain something else that’s funny about Tony Bedard: he says everything three times. Is it because he works with musicians, who are notoriously, let’s say, distracted? Is it because of that organized/responsible thing? Some people can’t quite say what they mean; I’m one. Most people say what they mean once, but they mumble. Diligent communicators say what they mean twice, which is a best practice. Tony Bedard, on the other hand, goes for the triplet.\u003c/p>\n\u003cp>“I like new bands,” he tells me. “I like up-and-coming bands. I like bands that are just starting out.”\u003c/p>\n\u003cp>Although he loves to talk about the heyday of MySpace, I weasel out of him his more current listening platform: “I love Bandcamp. Bandcamp is great. People use Soundcloud, some bands do ReverbNation, but for ease of use and stuff, Bandcamp is best.”\u003c/p>\n\u003cp>And to reiterate, he’s obsessed with live music. “I don’t care about movies. I own records, but I’m not a record collector. My jam is seeing live bands play.” This subject merits a double-triple: “The excitement of live shows, seeing that kind of stuff happen, especially when it’s new bands. I love that whole process, that level. I love it!”\u003c/p>\n\u003cp>Hence, for over a decade, the Hemlock Tavern’s music roster has been one of the most important, most creative, and noisiest in the city; a place musicians depend on and love, and a longtime haven for audiences who gravitate toward the esoterically angry — like the night the late Jay Reatard \u003ca href=\"http://www.sfweekly.com/shookdown/2010/01/13/jay-reatard-rip\" target=\"_blank\" rel=\"noopener\">smashed the bar’s clock on his head\u003c/a>. (Other “name” artists who’ve graced the club’s stage include PJ Harvey, Animal Collective, Gillian Welch, Cat Power, Joanna Newsom, Parquet Courts and Kurt Vile, all of whom play much larger halls today.)\u003c/p>\n\u003cp>“Bands know they’re going to get good sound, they’re going to get a couple drinks, they’re going to get a meal buyout,” Bedard says, noting that his own long years of touring in bad conditions led him, with the support of Alan, to be serious about that original idea of pleasing both artist and audience. “I wanted to make sure that this was a place that was artist-friendly. I want the bands to have a good experience, and I want the audience to enjoy themselves and think it sounds good. It’s a well-run show, you know?”\u003c/p>\n\u003cp>I think back to what bands look like taking the stage at the Hemlock, in all the years I’ve been going there, and suddenly it clicks: They’ve always looked relaxed. Many of them have looked happy, smiley and joking with each other and with the audience. This is not the case everywhere — sometimes, maybe even often, artists appear onstage still in negotiation with someone or something. But here, thanks to these guys in the background, things are always pretty copacetic.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10746944\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10746944\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/HemlockBar.jpg\" alt=\"(Photo courtesy Hemlock Tavern)\" width=\"640\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockBar.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockBar-400x362.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo courtesy Hemlock Tavern)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The problem with places\u003c/strong> like the Hemlock Tavern in San Francisco and a lot of other venues in cities all over the U.S. is that they’re going away. So many live music venues have been shuttered in the past few years that it’s hard to keep up with our losses, and as Bedard observes, once those places are gone, they’re rarely replaced. Speaking of which, I ask about recent \u003ca href=\"http://www.sfweekly.com/shookdown/2015/02/09/music-venue-deathwatch-hemlock-taverns-days-may-be-numbered\" target=\"_blank\" rel=\"noopener\">rumors of mixed-use development on the Hemlock site\u003c/a>: Are you worried?\u003c/p>\n\u003cp>“Our lease is up in six years,” Bedard states. “We have an ironclad lease that’s good through 2021. At that point, will the owners decide not to renew our lease? That could happen.”\u003c/p>\n\u003cp>Bedard is sanguine, and hopes for the best. What else can he do? He misses KUSF. He misses the \u003cem>Bay Guardian\u003c/em>. And economically, it’s practically a thing of the past for a young person to move to San Francisco, work at a service industry job, and spend most of their time playing music.\u003c/p>\n\u003cp>At our café, on our sunny day, we get distracted by a character Bedard identifies as “the neighborhood dog.” While he says hello to the local mascot, I reflect on the basic description he’s given me of his job: he has booked between four and seven nights of live music per week, upwards of 300 nights per year, for 13 years. So that’s 3,900 nights. But wait — each night features an average of three bands, so that number must be multiplied, coincidentally enough, by three. This guy has in all likelihood booked 11,700 bands to play on the Hemlock Tavern’s small back-room stage.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He may not often be in the spotlight, but to anyone obsessed with live music, Tony Bedard is a San Francisco treasure.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: KQED Arts this week premieres ‘Backstage Heroes,’ a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem> — where her ‘\u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">Music Heroes\u003c/a>’ series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The Hemlock Tavern on\u003c/strong> Polk Street is an international destination for music — “unconventional, not necessarily commercial, artistically adventurous music,” says the venue’s booker, Tony Bedard. For the past 13 years, Bedard has been in charge of which bands step onto the Hemlock’s small back-room stage, a fact as surprising to him as it is necessary to anyone who loves independent music.\u003c/p>\n\u003cp>Today, Bedard has his back to a set of giant plate-glass windows that look out to a sunny day on Divisadero near Haight. From my vantage point, his face is in shadow, but I can easily make out the crown of curly black hair against the bright windows. And that’s one of the interesting things about Bedard: He’s a vital element of San Francisco culture, but he’s hardly ever the one in the spotlight.\u003c/p>\n\u003cp>“I was working at Mission Creek Café on Valencia Street, which at the time was owned by my bandmate,” he tells me, explaining he got the job at the Hemlock in the first place. He’d been laid off from a better-paying job doing film and video production at an advertising agency (“I worked with the woman who invented the whole concept of ‘Supersize,’” he says with a vocal eyeroll), but he was getting by, thanks to a rent-controlled apartment.\u003c/p>\n\u003cp>Then one day in 2002, Don Alan, the new owner of the Hemlock, walked in and asked him to interview for a band-booker job.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My first instinct was like ‘No way,’” Bedard says. “And then I turned around and saw the huge stacks of dishes that were awaiting me, and was like, what am I, crazy? I have to at least talk to them.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10746938\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10746938\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/HemlockFront.jpg\" alt=\"The Hemlock Tavern on Polk Street. (Photo courtesy Hemlock Tavern)\" width=\"640\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockFront.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockFront-400x362.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Hemlock Tavern on Polk Street. (Photo courtesy Hemlock Tavern)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>And that was that.\u003c/strong> The two men formed an alliance, with Bedard immediately insisting that they focus on two basic ideas: “Make things good for the audience, and make things good for the bands.” Alan’s thinking was along similar lines.\u003c/p>\n\u003cp>“Very early on,” says Bedard, “he told me, ‘I don’t want you just booking by the numbers. I don’t want you booking what’s going to be the most popular thing.’” That came as no surprise, since before the Hemlock, Alan owned Radio Valencia, a much-loved, fearless music venue in the Mission District.\u003c/p>\n\u003cp>“It was a key west coast venue for a lot of free jazz people, John Zorn played there, plus there was a lot of bluegrass going on. And then Don also came from a public radio background, he co-founded WORT in Wisconsin in the ‘70s, and after that he ran a live music café-restaurant.” Bedard pauses; Alan’s dedication is one of the few subjects that doesn’t eventually set him off laughing. “He says this all the time: ‘We’re not getting rich. We do live music because we love it and we’re obsessed with it.’”\u003c/p>\n\u003cp>And Bedard is obsessed. Starting with guitar lessons at age seven, moving into choirs and choruses in middle school, and reaching an apex in (public!) high school with an intense chamber ensemble vocal group that covered fifteenth-century Italian madrigals as well as Earth, Wind, & Fire, live music has played a part in his life almost daily. Moving to Boston for college, he became a dedicated fan of rock music, thanks to an incredible-sounding scene there in the mid-‘80s, full of great radio stations, lots of places to see music, and touring bands like Sonic Youth and the Butthole Surfers. Arriving in San Francisco post-college, he took up the drums, becoming a self-taught member of several bands, touring, playing, and continuing to go to shows. In addition, starting in college, he started booking events — mostly lectures, big ones, for big audiences: Noam Chomsky, Angela Davis.\u003c/p>\n\u003cp>He won’t say it outright, but it’s pretty obvious that Tony Bedard has always been the organized one, and probably the responsible one as well. Surprisingly, this has not made him bitter. Quite the opposite, actually — while other bookers succumb to jadedness beneath a daily pile of poorly written band bios in booking requests, Bedard takes the more absurd ones and posts them on \u003ca href=\"https://twitter.com/Folder_Rock\" target=\"_blank\" rel=\"noopener\">Folder Rock\u003c/a>, a Twitter account that for anyone who’s been on the receiving end of press releases is familiar, cathartic, and hilarious.\u003c/p>\n\u003cfigure id=\"attachment_10746939\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10746939\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/HemlockStage.jpg\" alt=\"The Hemlock's small back room.\" width=\"640\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockStage.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockStage-400x362.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Over the years, Bedard has booked over 10,000 bands into the Hemlock’s small back room. \u003ccite>(Courtesy Hemlock Tavern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let me pause to\u003c/strong> explain something else that’s funny about Tony Bedard: he says everything three times. Is it because he works with musicians, who are notoriously, let’s say, distracted? Is it because of that organized/responsible thing? Some people can’t quite say what they mean; I’m one. Most people say what they mean once, but they mumble. Diligent communicators say what they mean twice, which is a best practice. Tony Bedard, on the other hand, goes for the triplet.\u003c/p>\n\u003cp>“I like new bands,” he tells me. “I like up-and-coming bands. I like bands that are just starting out.”\u003c/p>\n\u003cp>Although he loves to talk about the heyday of MySpace, I weasel out of him his more current listening platform: “I love Bandcamp. Bandcamp is great. People use Soundcloud, some bands do ReverbNation, but for ease of use and stuff, Bandcamp is best.”\u003c/p>\n\u003cp>And to reiterate, he’s obsessed with live music. “I don’t care about movies. I own records, but I’m not a record collector. My jam is seeing live bands play.” This subject merits a double-triple: “The excitement of live shows, seeing that kind of stuff happen, especially when it’s new bands. I love that whole process, that level. I love it!”\u003c/p>\n\u003cp>Hence, for over a decade, the Hemlock Tavern’s music roster has been one of the most important, most creative, and noisiest in the city; a place musicians depend on and love, and a longtime haven for audiences who gravitate toward the esoterically angry — like the night the late Jay Reatard \u003ca href=\"http://www.sfweekly.com/shookdown/2010/01/13/jay-reatard-rip\" target=\"_blank\" rel=\"noopener\">smashed the bar’s clock on his head\u003c/a>. (Other “name” artists who’ve graced the club’s stage include PJ Harvey, Animal Collective, Gillian Welch, Cat Power, Joanna Newsom, Parquet Courts and Kurt Vile, all of whom play much larger halls today.)\u003c/p>\n\u003cp>“Bands know they’re going to get good sound, they’re going to get a couple drinks, they’re going to get a meal buyout,” Bedard says, noting that his own long years of touring in bad conditions led him, with the support of Alan, to be serious about that original idea of pleasing both artist and audience. “I wanted to make sure that this was a place that was artist-friendly. I want the bands to have a good experience, and I want the audience to enjoy themselves and think it sounds good. It’s a well-run show, you know?”\u003c/p>\n\u003cp>I think back to what bands look like taking the stage at the Hemlock, in all the years I’ve been going there, and suddenly it clicks: They’ve always looked relaxed. Many of them have looked happy, smiley and joking with each other and with the audience. This is not the case everywhere — sometimes, maybe even often, artists appear onstage still in negotiation with someone or something. But here, thanks to these guys in the background, things are always pretty copacetic.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10746944\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10746944\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/HemlockBar.jpg\" alt=\"(Photo courtesy Hemlock Tavern)\" width=\"640\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockBar.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/HemlockBar-400x362.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo courtesy Hemlock Tavern)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The problem with places\u003c/strong> like the Hemlock Tavern in San Francisco and a lot of other venues in cities all over the U.S. is that they’re going away. So many live music venues have been shuttered in the past few years that it’s hard to keep up with our losses, and as Bedard observes, once those places are gone, they’re rarely replaced. Speaking of which, I ask about recent \u003ca href=\"http://www.sfweekly.com/shookdown/2015/02/09/music-venue-deathwatch-hemlock-taverns-days-may-be-numbered\" target=\"_blank\" rel=\"noopener\">rumors of mixed-use development on the Hemlock site\u003c/a>: Are you worried?\u003c/p>\n\u003cp>“Our lease is up in six years,” Bedard states. “We have an ironclad lease that’s good through 2021. At that point, will the owners decide not to renew our lease? That could happen.”\u003c/p>\n\u003cp>Bedard is sanguine, and hopes for the best. What else can he do? He misses KUSF. He misses the \u003cem>Bay Guardian\u003c/em>. And economically, it’s practically a thing of the past for a young person to move to San Francisco, work at a service industry job, and spend most of their time playing music.\u003c/p>\n\u003cp>At our café, on our sunny day, we get distracted by a character Bedard identifies as “the neighborhood dog.” While he says hello to the local mascot, I reflect on the basic description he’s given me of his job: he has booked between four and seven nights of live music per week, upwards of 300 nights per year, for 13 years. So that’s 3,900 nights. But wait — each night features an average of three bands, so that number must be multiplied, coincidentally enough, by three. This guy has in all likelihood booked 11,700 bands to play on the Hemlock Tavern’s small back-room stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Treasure Island Music Festival has announced its 2015 lineup, which includes Deadmau5, Robyn, Run the Jewels, the National and more.\u003c/p>\n\u003cp>The festival runs Oct. 17-18 on Treasure Island — where Kendrick Lamar \u003ca href=\"http://www.eastbayexpress.com/CultureSpyBlog/archives/2015/05/22/kendrick-lamar-shot-a-music-video-on-treasure-island-today\" target=\"_blank\" rel=\"noopener\">recently filmed his “Alright” video\u003c/a> — in one of festival season’s most scenic settings.\u003c/p>\n\u003cp>We’re looking forward to seeing if Deadmau5 has the same \u003ca href=\"http://www.billboard.com/articles/columns/music-festivals/6590544/deadmau5-overcomes-technical-difficulties-to-debut-new-dome-governors-ball-2015\" target=\"_blank\" rel=\"noopener\">power-outage problems\u003c/a> that plagued his set at the Governor’s Ball, if Killer Mike from Run the Jewels debuts any new \u003ca href=\"http://hiphopwired.com/2011/06/13/new-video-killer-mike-burn-video/\" target=\"_blank\" rel=\"noopener\">songs about BART Police\u003c/a>, and if Azealia Banks trash-talks anyone else in the lineup (or, you know, \u003ca href=\"http://www.stereogum.com/1610061/the-10-dumbest-azealia-banks-beefs-of-2013/franchises/the-2013-experience/\" target=\"_blank\" rel=\"noopener\">the world\u003c/a>).\u003c/p>\n\u003cp>Robyn, always stellar live, makes her stateside debut with mysterious new project \u003ca href=\"http://www.ew.com/article/2015/06/09/robyn-us-tour-date\" target=\"_blank\" rel=\"noopener\">La Bagatelle Magique\u003c/a> — a clear highlight — and Hudson Mohawke, Father John Misty, Drive Like Jehu and Chvrches are all justification for spending two days in the middle of the Bay. (With any luck, you’ll also be refreshing playoff box scores on your phone for the Giants or the A’s.)\u003c/p>\n\u003cp>Full lineup below; for ticket info. and more details, see \u003ca href=\"http://treasureislandfestival.com/2015/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a>’s site. And when the time comes, here’s \u003ca href=\"http://ww2.kqed.org/arts/2014/10/15/how-to-survive-the-treasure-island-music-festival-a-veterans-guide/\" target=\"_blank\" rel=\"noopener\">our guide to surviving the festival\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Deadmau5\u003cbr>\nThe National\u003cbr>\nRobyn & La Bagatelle Magique\u003cbr>\nChvrches\u003cbr>\nFather John Misty\u003cbr>\nRun The Jewels\u003cbr>\nThe War On Drugs\u003cbr>\nAzealia Banks\u003cbr>\nSTS9\u003cbr>\nPanda Bear\u003cbr>\nJosé González\u003cbr>\nHudson Mohawke\u003cbr>\nDeerhunter\u003cbr>\nDrive Like Jehu\u003cbr>\nViceroy\u003cbr>\nLower Dens\u003cbr>\nShamir\u003cbr>\nMikal Cronin\u003cbr>\nViet Cong\u003cbr>\nCashmere Cat\u003cbr>\nBAIO\u003cbr>\nSkyler Spence\u003cbr>\nOught\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Treasure Island Music Festival has announced its 2015 lineup, which includes Deadmau5, Robyn, Run the Jewels, the National and more.\u003c/p>\n\u003cp>The festival runs Oct. 17-18 on Treasure Island — where Kendrick Lamar \u003ca href=\"http://www.eastbayexpress.com/CultureSpyBlog/archives/2015/05/22/kendrick-lamar-shot-a-music-video-on-treasure-island-today\" target=\"_blank\" rel=\"noopener\">recently filmed his “Alright” video\u003c/a> — in one of festival season’s most scenic settings.\u003c/p>\n\u003cp>We’re looking forward to seeing if Deadmau5 has the same \u003ca href=\"http://www.billboard.com/articles/columns/music-festivals/6590544/deadmau5-overcomes-technical-difficulties-to-debut-new-dome-governors-ball-2015\" target=\"_blank\" rel=\"noopener\">power-outage problems\u003c/a> that plagued his set at the Governor’s Ball, if Killer Mike from Run the Jewels debuts any new \u003ca href=\"http://hiphopwired.com/2011/06/13/new-video-killer-mike-burn-video/\" target=\"_blank\" rel=\"noopener\">songs about BART Police\u003c/a>, and if Azealia Banks trash-talks anyone else in the lineup (or, you know, \u003ca href=\"http://www.stereogum.com/1610061/the-10-dumbest-azealia-banks-beefs-of-2013/franchises/the-2013-experience/\" target=\"_blank\" rel=\"noopener\">the world\u003c/a>).\u003c/p>\n\u003cp>Robyn, always stellar live, makes her stateside debut with mysterious new project \u003ca href=\"http://www.ew.com/article/2015/06/09/robyn-us-tour-date\" target=\"_blank\" rel=\"noopener\">La Bagatelle Magique\u003c/a> — a clear highlight — and Hudson Mohawke, Father John Misty, Drive Like Jehu and Chvrches are all justification for spending two days in the middle of the Bay. (With any luck, you’ll also be refreshing playoff box scores on your phone for the Giants or the A’s.)\u003c/p>\n\u003cp>Full lineup below; for ticket info. and more details, see \u003ca href=\"http://treasureislandfestival.com/2015/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a>’s site. And when the time comes, here’s \u003ca href=\"http://ww2.kqed.org/arts/2014/10/15/how-to-survive-the-treasure-island-music-festival-a-veterans-guide/\" target=\"_blank\" rel=\"noopener\">our guide to surviving the festival\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Carnaval, an explosion of Latino music and dance that wends its joyous way through San Francisco’s Mission district every Memorial Day weekend, was at its raucous best this year.\u003c/p>\n\u003cp>But despite the jubilant atmosphere, there was an undertow of worry in the air.\u003c/p>\n\u003cp>The working class Latinos who grew up in the Mission and have a longstanding relationship with Carnaval expressed concern about being priced out of their own homes. They also talked about how many of their former Carnaval colleagues can no longer practice or participate with their “contingents,” as the performing groups are called, because they have had to move so far away.\u003c/p>\n\u003cp>Where once there was only music, dance, pride and joy, there is now a growing sense of urgency as Carnaval becomes a space for community activism as well as art.\u003c/p>\n\u003cp>“On Carnaval Day, for families that have been displaced, they get to take back the streets,” says Annie Jupiter-Jones, Executive Director of Loco Bloco, one of the largest Carnaval contingents this year. “These streets are their streets again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED Arts went inside this year’s parade to see and hear the action up close.\u003c/p>\n\u003cp>In this video story, we follow three contingents — Jupiter-Jones’s Loco Bloco, the Brazil-inspired dance and percussion company Fogo Na Roupa, and the Trinidadian puppeteers Mas Makers Massive – and find that the passion for Carnaval is undimmed by gentrification.\u003c/p>\n\u003cp>Even as neighborhood participation is thinning, there is a resolute determination among the people who built Carnaval to keep its fire burning brighter than ever.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a time when most of the news coming from the Mission is about locals being priced out for new condos and upscale eateries, here’s one reason to celebrate.\u003c/p>\n\n",
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"content": "\u003cp>The roar of a car bomb has been the prelude to Karim Wasfi’s performances of late.\u003c/p>\n\u003cp>The renowned conductor of the \u003ca href=\"http://www.npr.org/sections/parallels/2014/09/15/348760910/iraqs-artists-defy-extremists-with-bows-brushes-and-a-low-profile\" target=\"_blank\" rel=\"noopener\">Iraqi National Symphony Orchestra\u003c/a> has been appearing at the sites of explosions across Baghdad. Just hours after attacks, Wasfi \u003ca href=\"https://www.youtube.com/watch?v=3tyDtGAGoqI\" target=\"_blank\" rel=\"noopener\">can be seen\u003c/a> seated amid ash and rubble in a black suit jacket, long hair combed back, playing his cello. For him, this combination of music and place has become a form of resistance, something he told \u003cem>Morning Edition\u003c/em> when the show reached him at home in Baghdad.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/412284066/412805201\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>“This was an action respecting the souls and the spirits of the fallen ones due to terror around the world — and, of course, Baghdad, because we’re living the reality over here,” Wasfi says. “The other side chose to turn every element, every aspect of life in Iraq into a battle and into a war zone. I chose to turn every corner of Iraq into a spot for civility, beauty and compassion.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Wasfi resides in a well-to-do neighborhood of Baghdad called Mansour, once an enclave of diplomats and private clubs. A deadly attack in Mansour a few weeks ago, an explosion Wasfi narrowly missed, prompted him to take his cello to the streets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wasfi’s close friend Ammar al-Shahbander posted footage of that first performance, in which he performs an original composition titled “Baghdad Mourning Melancholy.” In the video, a man in a wheelchair rolls up slowly right next to Wasfi, taking in the unusual moment, while others gather to watch and listen.\u003c/p>\n\u003cp>“Some soldiers were in tears, some shop owners were in tears. Some people were confused,” Wasfi remembers. “I was connecting everything: death, spirits, bodies, life. People were supportive. They were appreciating the fact that someone can still at least lead their emotions and spirits towards something beautiful, to rise above the intimidation of improvised death.”\u003c/p>\n\u003cp>The video went viral, broadcasting Wasfi’s music and message beyond Iraq. His next performance came after a tragedy that affected him personally, when al-Shahbander was himself killed by a car bomb attack.\u003cstrong> \u003c/strong>The next morning, Wasfi put on a full white suit and grabbed his cello again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Unlike what people think, we have a choice of fighting back,” Wasfi says. “We can’t just surrender to the impending doom of uncertainty by not functioning. But I think it’s an awakening for everybody to make a choice and to choose how they want to live, not how they want to die.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Amid+Violence+In+Baghdad%2C+A+Musician+Creates+A+One-Man+Vigil&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The roar of a car bomb has been the prelude to Karim Wasfi’s performances of late.\u003c/p>\n\u003cp>The renowned conductor of the \u003ca href=\"http://www.npr.org/sections/parallels/2014/09/15/348760910/iraqs-artists-defy-extremists-with-bows-brushes-and-a-low-profile\" target=\"_blank\" rel=\"noopener\">Iraqi National Symphony Orchestra\u003c/a> has been appearing at the sites of explosions across Baghdad. Just hours after attacks, Wasfi \u003ca href=\"https://www.youtube.com/watch?v=3tyDtGAGoqI\" target=\"_blank\" rel=\"noopener\">can be seen\u003c/a> seated amid ash and rubble in a black suit jacket, long hair combed back, playing his cello. For him, this combination of music and place has become a form of resistance, something he told \u003cem>Morning Edition\u003c/em> when the show reached him at home in Baghdad.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/412284066/412805201\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>“This was an action respecting the souls and the spirits of the fallen ones due to terror around the world — and, of course, Baghdad, because we’re living the reality over here,” Wasfi says. “The other side chose to turn every element, every aspect of life in Iraq into a battle and into a war zone. I chose to turn every corner of Iraq into a spot for civility, beauty and compassion.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Wasfi resides in a well-to-do neighborhood of Baghdad called Mansour, once an enclave of diplomats and private clubs. A deadly attack in Mansour a few weeks ago, an explosion Wasfi narrowly missed, prompted him to take his cello to the streets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wasfi’s close friend Ammar al-Shahbander posted footage of that first performance, in which he performs an original composition titled “Baghdad Mourning Melancholy.” In the video, a man in a wheelchair rolls up slowly right next to Wasfi, taking in the unusual moment, while others gather to watch and listen.\u003c/p>\n\u003cp>“Some soldiers were in tears, some shop owners were in tears. Some people were confused,” Wasfi remembers. “I was connecting everything: death, spirits, bodies, life. People were supportive. They were appreciating the fact that someone can still at least lead their emotions and spirits towards something beautiful, to rise above the intimidation of improvised death.”\u003c/p>\n\u003cp>The video went viral, broadcasting Wasfi’s music and message beyond Iraq. His next performance came after a tragedy that affected him personally, when al-Shahbander was himself killed by a car bomb attack.\u003cstrong> \u003c/strong>The next morning, Wasfi put on a full white suit and grabbed his cello again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Unlike what people think, we have a choice of fighting back,” Wasfi says. “We can’t just surrender to the impending doom of uncertainty by not functioning. But I think it’s an awakening for everybody to make a choice and to choose how they want to live, not how they want to die.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Amid+Violence+In+Baghdad%2C+A+Musician+Creates+A+One-Man+Vigil&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Walk into a Boys & Girls Club after school, and you’ll see kids playing basketball, working on art projects, maybe getting a head start on their homework. And in a growing number of clubs, you’ll find kids creating music, through a free program called \u003ca href=\"http://notesfornotes.org/\">Notes for Notes.\u003c/a>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/209014153\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>At Santa Barbara’s Westside Notes for Notes studio, an improv jam session is in full swing. Little kids sing along to karaoke, bang on drums and fiddle around on a mini-synthesizer. Ten-year-old Sam Sotelo is here nearly every day.\u003c/p>\n\u003cp>“I play keyboard and ukulele,” he says. “You get very creative, and I really like all of the instruments. I just hope everyone can come here because it’s very fun!”\u003c/p>\n\u003cfigure id=\"attachment_10552034\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552034\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\" alt=\"Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the next room, behind a wall plastered with posters of Tupac, the Red Hot Chili Peppers and Johnny Cash, there’s a professionally equipped recording studio. High school senior Maxton Schulte lays down drum tracks for his second studio album.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Say one day I made it, I’d still want to track here,” he says with a laugh.\u003c/p>\n\u003cp>Schulte first picked up a guitar when he was 9 years old. Today, he’s a multi-instrumentalist, singer-songwriter and member of a band called The Caverns. He’s been recording at Notes for Notes for the past year.\u003c/p>\n\u003cp>“You’re not getting some cheesy-sounding garage band recording,” he explains. “Everyone is super supportive, you know, people want to collaborate with you. I meet new people here every week. It's always a good vibe here.”\u003c/p>\n\u003cp>Bre Wright is at the control board, helping Schulte fine-tune his recording. She’s a fellow musician, and a Notes for Notes program director.\u003c/p>\n\u003cp>“It’s unlike anything I’ve ever gotten to be involved with,” she says. “Just like this intermingling of all different generations of already musicians, or musicians to be. And I know that any of us who are the staff all say the same thing, 'Man, I wish I had one of these when I was a kid!' ”\u003c/p>\n\u003cfigure id=\"attachment_10552041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552041\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\" alt=\"Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giving all kids access to music is what Notes for Notes is all about. The first studio, called the Music Box, opened in a Santa Barbara teen center in 2007. Thanks to its partnership with the Boys & Girls Club, and sponsorships from Gibson, Les Paul and the Country Music Association, Notes for Notes has thrived. Today, there are studios in Nashville, Los Angeles and San Francisco. Just this week, a Ventura studio opened its doors, and Atlanta, Brooklyn and Detroit are set for later this year.\u003c/p>\n\u003cp>Guitars line the wall, and a drum kit dominates the room inside Santa Barbara’s Eastside studio, where three high school musicians rehearse an acoustic ballad. Seventeen-year-old Chimaway Lopez plays guitar.\u003c/p>\n\u003cp>“I've played violin since third grade, but I always wanted to play guitar ’cause of Jimi Hendrix,” he says. “But I was scared, because it had six strings.”\u003c/p>\n\u003cp>Brandi Rose Lentini, 15, is a third-generation musician with a powerful voice.\u003c/p>\n\u003cp>“I’ve been told so many times by my teachers, 'Music’s not going to get you anywhere so just stop, just stop it!' ” she says, shaking her head. “Then coming here, I actually told the people working here about that situation. They just said that’s completely wrong, and that there is people out there that’s supportive of you, and that's here.”\u003c/p>\n\u003cfigure id=\"attachment_10552040\" class=\"wp-caption alignright\" style=\"max-width: 1440px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\">\u003cimg class=\"wp-image-10552040 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\" alt=\"Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio.\" width=\"1440\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-960x1280.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notes for Notes arms these kids with the skills and confidence they need to market themselves as professional players and land gigs. Singer-songwriter Jamey Geston explains.\u003c/p>\n\u003cp>“I’m not a great student, like I'm you know, pretty average,” she says. “Coming to the Music Box makes me remember there’s more than just school, so it’s opened my eyes as to what’s after high school, and what you can do in the music industry.”\u003c/p>\n\u003cp>And these musicians will get a taste of just what they can do when they open for Peter Frampton at Notes for Notes' annual benefit concert this Sunday at Santa Barbara’s Lobero Theatre.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is dedicated to the memory of dear friend and fellow music lover Vivian Beutel.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walk into a Boys & Girls Club after school, and you’ll see kids playing basketball, working on art projects, maybe getting a head start on their homework. And in a growing number of clubs, you’ll find kids creating music, through a free program called \u003ca href=\"http://notesfornotes.org/\">Notes for Notes.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/209014153&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/209014153'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At Santa Barbara’s Westside Notes for Notes studio, an improv jam session is in full swing. Little kids sing along to karaoke, bang on drums and fiddle around on a mini-synthesizer. Ten-year-old Sam Sotelo is here nearly every day.\u003c/p>\n\u003cp>“I play keyboard and ukulele,” he says. “You get very creative, and I really like all of the instruments. I just hope everyone can come here because it’s very fun!”\u003c/p>\n\u003cfigure id=\"attachment_10552034\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552034\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\" alt=\"Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the next room, behind a wall plastered with posters of Tupac, the Red Hot Chili Peppers and Johnny Cash, there’s a professionally equipped recording studio. High school senior Maxton Schulte lays down drum tracks for his second studio album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Say one day I made it, I’d still want to track here,” he says with a laugh.\u003c/p>\n\u003cp>Schulte first picked up a guitar when he was 9 years old. Today, he’s a multi-instrumentalist, singer-songwriter and member of a band called The Caverns. He’s been recording at Notes for Notes for the past year.\u003c/p>\n\u003cp>“You’re not getting some cheesy-sounding garage band recording,” he explains. “Everyone is super supportive, you know, people want to collaborate with you. I meet new people here every week. It's always a good vibe here.”\u003c/p>\n\u003cp>Bre Wright is at the control board, helping Schulte fine-tune his recording. She’s a fellow musician, and a Notes for Notes program director.\u003c/p>\n\u003cp>“It’s unlike anything I’ve ever gotten to be involved with,” she says. “Just like this intermingling of all different generations of already musicians, or musicians to be. And I know that any of us who are the staff all say the same thing, 'Man, I wish I had one of these when I was a kid!' ”\u003c/p>\n\u003cfigure id=\"attachment_10552041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552041\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\" alt=\"Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giving all kids access to music is what Notes for Notes is all about. The first studio, called the Music Box, opened in a Santa Barbara teen center in 2007. Thanks to its partnership with the Boys & Girls Club, and sponsorships from Gibson, Les Paul and the Country Music Association, Notes for Notes has thrived. Today, there are studios in Nashville, Los Angeles and San Francisco. Just this week, a Ventura studio opened its doors, and Atlanta, Brooklyn and Detroit are set for later this year.\u003c/p>\n\u003cp>Guitars line the wall, and a drum kit dominates the room inside Santa Barbara’s Eastside studio, where three high school musicians rehearse an acoustic ballad. Seventeen-year-old Chimaway Lopez plays guitar.\u003c/p>\n\u003cp>“I've played violin since third grade, but I always wanted to play guitar ’cause of Jimi Hendrix,” he says. “But I was scared, because it had six strings.”\u003c/p>\n\u003cp>Brandi Rose Lentini, 15, is a third-generation musician with a powerful voice.\u003c/p>\n\u003cp>“I’ve been told so many times by my teachers, 'Music’s not going to get you anywhere so just stop, just stop it!' ” she says, shaking her head. “Then coming here, I actually told the people working here about that situation. They just said that’s completely wrong, and that there is people out there that’s supportive of you, and that's here.”\u003c/p>\n\u003cfigure id=\"attachment_10552040\" class=\"wp-caption alignright\" style=\"max-width: 1440px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\">\u003cimg class=\"wp-image-10552040 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\" alt=\"Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio.\" width=\"1440\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-960x1280.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notes for Notes arms these kids with the skills and confidence they need to market themselves as professional players and land gigs. Singer-songwriter Jamey Geston explains.\u003c/p>\n\u003cp>“I’m not a great student, like I'm you know, pretty average,” she says. “Coming to the Music Box makes me remember there’s more than just school, so it’s opened my eyes as to what’s after high school, and what you can do in the music industry.”\u003c/p>\n\u003cp>And these musicians will get a taste of just what they can do when they open for Peter Frampton at Notes for Notes' annual benefit concert this Sunday at Santa Barbara’s Lobero Theatre.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is dedicated to the memory of dear friend and fellow music lover Vivian Beutel.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live This Month: June 2015",
"headTitle": "Live This Month: June 2015 | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area this month, including tracks by Kinski, Tumbleweed Wanderers, Male Gaze, Two Sheds and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_June_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>In \u003ca href=\"http://www.thebaybridged.com/category/podcast/live-this-month/\">Live This Month\u003c/a>, we sample some of the great local and out-of-town bands performing in the coming month in the San Francisco Bay Area.\u003c/p>\n\u003cp>A number of the Bay Area bands included in this month’s mix are celebrating the release of long-overdue albums, although no band embodies that quite as much as SF band \u003cstrong>\u003ca href=\"https://www.facebook.com/AcidkingSF\">Acid King\u003c/a>\u003c/strong>. The stoner-metal group began in 1993; its new album, \u003cem>Middle of Nowhere, Center of Everywhere\u003c/em>, arrives a full decade after its predecessor. Listening to “Red River,” one might assume that the ten years was spent amassing heaviness to unleash on a now-unsuspecting public.\u003c/p>\n\u003cp>By comparison, it’s only been three years since \u003cstrong>\u003ca href=\"https://www.facebook.com/tumbleweedwanderers\">Tumbleweed Wanderers\u003c/a>\u003c/strong>’ first album, an interval that found the group busy touring, playing festivals like Outside Lands, and releasing an EP. Still, the singles from \u003cem>Realize\u003c/em> make the Oakland band’s new album feel like a big leap forward, seamlessly melding the group’s love of Americana, soul, and psych music into a unique spin on rock ‘n’ roll.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/twoshedsband\">Two Sheds\u003c/a>\u003c/strong> has long been a favorite of ours, and we’ve followed the group from its early origins in Sacramento, through a stint in the Bay Area to their current home of Los Angeles. The indie rock-pop band’s new album, \u003cem>Assembling\u003c/em>, was spawned out of some marathon songwriting sessions, and we’ve long been impressed by the group’s ability to build rich atmosphere from layers of sonic texture.\u003c/p>\n\u003cp>Finally, in what we think is a Bay Bridged podcast first, we’ve included two songs in this mix that both have the exact same title. How weird is that? And more importantly: will 2015 ultimately be known as the year of “Bad Blood”?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enjoy the podcast — and then go see some shows!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/kinski.band\">Kinski\u003c/a>\u003c/strong> – “Flight Risk”\u003cbr>\nComing to the \u003ca href=\"http://www.hemlocktavern.com/\">Hemlock Tavern\u003c/a> on June 6; locals Heron Oblivion and Mall Walk kick off the show.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Flesh-World/692261370835698\">Flesh World\u003c/a>\u003c/strong> – “Poolside Boys”\u003cbr>\nCelebrating the release of \u003cem>The Wild Animals in My Life\u003c/em> at \u003ca href=\"http://www.elriosf.com/\">El Rio\u003c/a> on June 20 with The Mantles and Uffizi .\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/wearepins\">PINS\u003c/a>\u003c/strong> – “Young Girls”\u003cbr>\nThe Manchester band’s U.S. tour hits the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on June 16; also performing are Queen Kwong and Talkies.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/malegazesf\">Male Gaze\u003c/a>\u003c/strong> – “The Shining Path”\u003cbr>\nPlaying at a benefit concert for the San Francisco Rock Project with White Fence and Magic Trick; the show takes place on June 14 at the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/IamCalvinLove\">Calvin Love\u003c/a>\u003c/strong> – “Daydream”\u003cbr>\nLove’s tour with Jacco Gardner comes to the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on June 27; local bands Cool Ghouls and Vanwave support.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/tumbleweedwanderers\">Tumbleweed Wanderers\u003c/a>\u003c/strong> – “Bad Blood”\u003cbr>\nReleasing \u003cem>Realize\u003c/em> with a show at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on June 11; Debbie Neigher opens.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/twoshedsband\">Two Sheds\u003c/a>\u003c/strong> – “I Am My Own”\u003cbr>\nThis Frontier Needs Heroes and Young Nudist play alongside the LA-via-Sacramento band at \u003ca href=\"http://amnesiathebar.com/newp/calendar/\">Amnesia\u003c/a> on June 18.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/AcidkingSF\">Acid King\u003c/a>\u003c/strong> – “Red River”\u003cbr>\nPerforming at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> with Carlton Melton and DJ Naked Rob on June 20.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/isisisaband\">Is/Is\u003c/a>\u003c/strong> – “Before The Stars”\u003cbr>\nSF’s Sarah Bethe Nelson and The Aerosols join the Portland band at the \u003ca href=\"http://www.hemlocktavern.com/\">Hemlock Tavern\u003c/a> on June 18.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/dinosaurssf\">Dinosaurs\u003c/a>\u003c/strong> – “Hell In My House”\u003cbr>\nRounding out an all-local show with Scraper, Jerks, and Unity on June 16 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.8ECP3TA4.dpbs\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://fredthomasmusic.com/\">Fred Thomas\u003c/a>\u003c/strong> – “Bad Blood”\u003cbr>\nThe artist’s tour comes to \u003ca href=\"https://www.facebook.com/1234gorecords/events\">1-2-3-4 Go! Records\u003c/a> on June 29 with Try the Pie.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/elvisdepressedly\">Elvis Depressedly\u003c/a>\u003c/strong> – “New Alhambra”\u003cbr>\nTouring with Mitski and Eskimeaux, the three bands head to \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.8ECP3TA4.dpbs\">Bottom of the Hill\u003c/a> on June 30.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/bonniehellabangs/\">Bonnie & the BANG BANG\u003c/a>\u003c/strong> – “Every New Love”\u003cbr>\nThe \u003ca href=\"http://www.slimspresents.com/calendar/\">Great American Music Hall\u003c/a> hosts the Oakland band alongside fellow locals Curious Quail and Travis Hayes & The Young Daze on June 27.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Ryley-Walker/1405815259669307\">Ryley Walker\u003c/a>\u003c/strong> – “Primrose Green”\u003cbr>\nPlaying with Amen Dunes and Xander Duell on June 12 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area this month, including tracks by Kinski, Tumbleweed Wanderers, Male Gaze, Two Sheds and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_June_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>In \u003ca href=\"http://www.thebaybridged.com/category/podcast/live-this-month/\">Live This Month\u003c/a>, we sample some of the great local and out-of-town bands performing in the coming month in the San Francisco Bay Area.\u003c/p>\n\u003cp>A number of the Bay Area bands included in this month’s mix are celebrating the release of long-overdue albums, although no band embodies that quite as much as SF band \u003cstrong>\u003ca href=\"https://www.facebook.com/AcidkingSF\">Acid King\u003c/a>\u003c/strong>. The stoner-metal group began in 1993; its new album, \u003cem>Middle of Nowhere, Center of Everywhere\u003c/em>, arrives a full decade after its predecessor. Listening to “Red River,” one might assume that the ten years was spent amassing heaviness to unleash on a now-unsuspecting public.\u003c/p>\n\u003cp>By comparison, it’s only been three years since \u003cstrong>\u003ca href=\"https://www.facebook.com/tumbleweedwanderers\">Tumbleweed Wanderers\u003c/a>\u003c/strong>’ first album, an interval that found the group busy touring, playing festivals like Outside Lands, and releasing an EP. Still, the singles from \u003cem>Realize\u003c/em> make the Oakland band’s new album feel like a big leap forward, seamlessly melding the group’s love of Americana, soul, and psych music into a unique spin on rock ‘n’ roll.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/twoshedsband\">Two Sheds\u003c/a>\u003c/strong> has long been a favorite of ours, and we’ve followed the group from its early origins in Sacramento, through a stint in the Bay Area to their current home of Los Angeles. The indie rock-pop band’s new album, \u003cem>Assembling\u003c/em>, was spawned out of some marathon songwriting sessions, and we’ve long been impressed by the group’s ability to build rich atmosphere from layers of sonic texture.\u003c/p>\n\u003cp>Finally, in what we think is a Bay Bridged podcast first, we’ve included two songs in this mix that both have the exact same title. How weird is that? And more importantly: will 2015 ultimately be known as the year of “Bad Blood”?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enjoy the podcast — and then go see some shows!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/kinski.band\">Kinski\u003c/a>\u003c/strong> – “Flight Risk”\u003cbr>\nComing to the \u003ca href=\"http://www.hemlocktavern.com/\">Hemlock Tavern\u003c/a> on June 6; locals Heron Oblivion and Mall Walk kick off the show.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Flesh-World/692261370835698\">Flesh World\u003c/a>\u003c/strong> – “Poolside Boys”\u003cbr>\nCelebrating the release of \u003cem>The Wild Animals in My Life\u003c/em> at \u003ca href=\"http://www.elriosf.com/\">El Rio\u003c/a> on June 20 with The Mantles and Uffizi .\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/wearepins\">PINS\u003c/a>\u003c/strong> – “Young Girls”\u003cbr>\nThe Manchester band’s U.S. tour hits the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on June 16; also performing are Queen Kwong and Talkies.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/malegazesf\">Male Gaze\u003c/a>\u003c/strong> – “The Shining Path”\u003cbr>\nPlaying at a benefit concert for the San Francisco Rock Project with White Fence and Magic Trick; the show takes place on June 14 at the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/IamCalvinLove\">Calvin Love\u003c/a>\u003c/strong> – “Daydream”\u003cbr>\nLove’s tour with Jacco Gardner comes to the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on June 27; local bands Cool Ghouls and Vanwave support.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/tumbleweedwanderers\">Tumbleweed Wanderers\u003c/a>\u003c/strong> – “Bad Blood”\u003cbr>\nReleasing \u003cem>Realize\u003c/em> with a show at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on June 11; Debbie Neigher opens.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/twoshedsband\">Two Sheds\u003c/a>\u003c/strong> – “I Am My Own”\u003cbr>\nThis Frontier Needs Heroes and Young Nudist play alongside the LA-via-Sacramento band at \u003ca href=\"http://amnesiathebar.com/newp/calendar/\">Amnesia\u003c/a> on June 18.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/AcidkingSF\">Acid King\u003c/a>\u003c/strong> – “Red River”\u003cbr>\nPerforming at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> with Carlton Melton and DJ Naked Rob on June 20.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/isisisaband\">Is/Is\u003c/a>\u003c/strong> – “Before The Stars”\u003cbr>\nSF’s Sarah Bethe Nelson and The Aerosols join the Portland band at the \u003ca href=\"http://www.hemlocktavern.com/\">Hemlock Tavern\u003c/a> on June 18.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/dinosaurssf\">Dinosaurs\u003c/a>\u003c/strong> – “Hell In My House”\u003cbr>\nRounding out an all-local show with Scraper, Jerks, and Unity on June 16 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.8ECP3TA4.dpbs\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://fredthomasmusic.com/\">Fred Thomas\u003c/a>\u003c/strong> – “Bad Blood”\u003cbr>\nThe artist’s tour comes to \u003ca href=\"https://www.facebook.com/1234gorecords/events\">1-2-3-4 Go! Records\u003c/a> on June 29 with Try the Pie.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/elvisdepressedly\">Elvis Depressedly\u003c/a>\u003c/strong> – “New Alhambra”\u003cbr>\nTouring with Mitski and Eskimeaux, the three bands head to \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.8ECP3TA4.dpbs\">Bottom of the Hill\u003c/a> on June 30.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/bonniehellabangs/\">Bonnie & the BANG BANG\u003c/a>\u003c/strong> – “Every New Love”\u003cbr>\nThe \u003ca href=\"http://www.slimspresents.com/calendar/\">Great American Music Hall\u003c/a> hosts the Oakland band alongside fellow locals Curious Quail and Travis Hayes & The Young Daze on June 27.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Ryley-Walker/1405815259669307\">Ryley Walker\u003c/a>\u003c/strong> – “Primrose Green”\u003cbr>\nPlaying with Amen Dunes and Xander Duell on June 12 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Brian Wilson Reflects on New Biopic, 'Love & Mercy'",
"title": "Brian Wilson Reflects on New Biopic, 'Love & Mercy'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Brian Wilson turns 73 this summer, but he’s not slowing down. The former Beach Boy has released \"No Pier Pressure,\" his 11th solo album, he’s rehearsing for a world tour, and this month the Wilson biopic \"\u003ca href=\"http://www.loveandmercyfilm.com/\">Love & Mercy\u003c/a>\" hits theaters, telling a deeply personal tale that’s not all fun, fun, fun.\u003c/p>\n\u003cp>Before we go any further, be aware that Wilson is not exactly a huge fan of interviews. While many celebrities have no problem engaging in lengthy discourse about themselves and their art, one gets the feeling that Wilson is far more interested in simply making music. Or relaxing with his family. Or eating a melted cheese sandwich. He loves a melted cheese sandwich.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/209014039\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>His answers are notoriously short, and often delivered in a breathless staccato. He says “right” a lot. Gets bored easily. And, coming up on his 73\u003csup>rd\u003c/sup> birthday, he's had to talk about himself to those looking to dissect his songs, his thoughts and his genius since Kennedy was in the White House.\u003c/p>\n\u003cp>Having said that, Wilson has his own unique charm. He’s an endearing guy. You root for him, by God. He’s painfully honest at times, though there’s apparently not a mean, rude or nasty bone in his body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Love & Mercy\" delves deeply into his life, examining his struggles with mental illness and drug abuse, his years under the care of controversial psychotherapist Dr. Eugene Landy, his relationship with second wife Melinda -- they met in 1986, married in ‘95 -- and the brilliant music he’s created that has come to define a time and place and state of mind for at least a couple of generations.\u003c/p>\n\u003cfigure id=\"attachment_10551024\" class=\"wp-caption alignright\" style=\"max-width: 493px\">\u003cimg class=\" wp-image-10551024\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BriansRoom-800x645.jpg\" alt=\"Artifacts in Brian Wilson’s music room.\" width=\"493\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-800x645.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-400x323.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1440x1162.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1180x952.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-960x775.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom.jpg 1920w\" sizes=\"(max-width: 493px) 100vw, 493px\">\u003cfigcaption class=\"wp-caption-text\">Artifacts in Brian Wilson’s music room. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wilsons live with their five kids and 12 dogs in a big, but far from ostentatious, house in a gated Beverly Hills community.\u003c/p>\n\u003cp>Upstairs is Brian’s music room. Tall ceilings. Dark drapes. It’s quiet, peaceful. He’s got a grand piano, and a table covered with well-dusted awards and trophies. There are gold records, still crated, leaning against the wall, along with a portrait of his late brother, Carl, whose soaring, sweet high tenor voice graced many a Beach Boys hit. “God Only Knows”? That’s Carl.\u003c/p>\n\u003cp>Mr. and Mrs. Wilson enter the room -- Melinda rarely does interviews and has little truck with the spotlight -- and hunker down in a deep leather couch. They were involved with \"Love & Mercy\" to some degree, a Hollywood production they’ve been championing off and on for many years.\u003c/p>\n\u003cp>Brian spent time with the two actors who portray him, Paul Dano as 1960s Wilson at the apex of his creative powers, and John Cusack as the deeply troubled ’80s Wilson in the thrall of Dr. Landy. The psychotherapist helped bring Brian back from self-destruction, but ultimately took control over his patient’s life. He was barred from contact by court order in 1992. Melinda had a three-hour lunch with Elizabeth Banks, her onscreen counterpart, and consulted on the script.\u003c/p>\n\u003cp>Still, they weren’t ready for what they saw on screen.\u003c/p>\n\u003cp>“The first time I saw it, it was like, I didn’t know what to say,” recalls Melinda. “And Brian wasn’t with me ’cause I wanted to be the buffer in case it was just, 'Oh my God.\" And it was like, 'Oh my God.' I couldn’t keep my mouth shut. I said to Bill [Pohlad, the film’s director], ‘I’ve got to go. I don’t know what to think.’ And I drove around the city for two hours.’”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.'\u003ccite>Brian Wilson\u003c/cite>\u003c/aside>\n\u003cp>“It was tough to watch,” admits Brian. “It really was.” Given the vivid scenes of the musician’s downward mental spiral and substance abuse, one can only imagine.\u003c/p>\n\u003cp>These days the substances are long gone, but Melinda says her husband still suffers from “schizoaffective disorder, which is a manic depressive with auditory hallucinations.”\u003c/p>\n\u003cp>“I have voices in my head,” clarifies Brian. “Mostly it’s derogatory. Some of it’s cheerful. Most of it isn’t.”\u003c/p>\n\u003cp>It’s a condition that’s clearly very difficult to live with, and one that is often misunderstood.\u003c/p>\n\u003cp>“It shows you how strong he really is,” says Melinda, “to go through what he went through, to go through what he still goes through with the voices, to be brave enough to get up onstage and do a concert.\u003c/p>\n\u003cp>“That’s what I wish people would take away from Brian’s story. Not that he’s this poor, pathetic guy that has had all these horrible things happen to him. Yeah, he has, but he’s lived through it and he’s managed to make beautiful music at the same time, he’s managed to be a good dad to our kids, he’s managed to put up with me. And that’s not easy.”\u003c/p>\n\u003cp>The undercurrent to the film, and to their real lives, is far from dark.\u003c/p>\n\u003cfigure id=\"attachment_10551030\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BWWedding-800x1065.jpg\" alt=\"Brian and Melinda Wilson on their wedding day in 1995.\" width=\"800\" height=\"1065\" class=\"size-medium wp-image-10551030\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-800x1065.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1440x1918.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1180x1571.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-960x1279.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian and Melinda Wilson on their wedding day in 1995.\u003cbr> \u003ccite>(Courtesy of the Wilson personal archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Basically, it’s a love story involving she and I,” says Brian. “Also it captured my life, you know. What I went through, what I did with the records I produced and stuff.\"\u003c/p>\n\u003cp>“And that was a love story in and of itself, the music aspect,” Melinda says. “So the whole thing’s a love story.\"\u003c/p>\n\u003cp>A love story that began 29 years ago. She was selling Cadillacs at a west Los Angeles dealership. He wanted to buy one. They were united over a brown ’86 Seville.\u003c/p>\n\u003cp>“Right! Right! Yeah,” gushes Brian, excited at the memory. And the conversation between them begins.\u003c/p>\n\u003cp>“It was the ugliest car we had.”\u003c/p>\n\u003cp>“I liked it, though, I chose that one 'cause I liked it. 'That one’s for me.' ”\u003c/p>\n\u003cp>“My take is that he liked it because it was the first one he saw and he didn’t have to go upstairs and traipse through 300 cars.”\u003c/p>\n\u003cp>“A car’s OK for me, you know? A car’s all right to drive. Not to look at, but to get in it and drive it.”\u003c/p>\n\u003cp>“You see what I mean?” says Melinda.\u003c/p>\n\u003cp>It should be pointed out that a car is also good to write songs about.\u003c/p>\n\u003cp>“Right, well, I wrote a few car songs, yeah.\"\u003c/p>\n\u003cfigure id=\"attachment_10549771\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\">\u003cimg class=\"size-full wp-image-10549771\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\" alt=\"Musician Darian Sahanaja with his boss, Brian Wilson.\" width=\"1920\" height=\"2679\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-400x558.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-800x1116.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1440x2009.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1180x1646.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-960x1340.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Darian Sahanaja with his boss, Brian Wilson. \u003ccite>(Jeff McEvoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darian Sahanaja knows all about Wilson’s car songs, and every other song the man has written. Since 1999, Sahanaja has been a singer and keyboardist for Brian Wilson's Band. But far from being simply a hired gun, Sahanaja, 52, comes by his Brian passion honestly.\u003c/p>\n\u003cp>“The Beach Boys are my favorite group,” the Los Angeles native says. “They were since I was 12 years old. In a period when it was way cooler to be listening to Led Zeppelin and the Stones and Aerosmith and all those groups, I actually took regular beatings from neighborhood boys because I loved the Beach Boys.”\u003c/p>\n\u003cp>Sahanaja was supervising musical consultant on \"Love & Mercy,\" translating his passion and respect for the man and material into meticulous recreations of Wilson in the studio during the classic ‘60’s \"Pet Sounds\" era.\u003c/p>\n\u003cp>“The last cut I saw was very satisfying to the point where I actually teared up,” he says. “The filmmaking matched the artist. He’s an enigma, Brian’s an enigma, and the filmmaking felt enigmatic, so there’s lots of moments of beauty and sadness, which to me is a big part of Brian’s music. Joy and tragedy, you know?”\u003c/p>\n\u003cp>While joy seems a hard-won commodity in Wilson’s life, Sahanaja has witnessed it firsthand.\u003c/p>\n\u003cp>“I have to say, when he’s feeling the love from an audience and he’s feeling the band and the vocals and it sounds really good, it’s because it just makes him — for that moment — feel so happy, which is probably something he doesn’t feel a lot. Those are the moments he’s wanting, you know, he’s hoping for.”\u003c/p>\n\u003cfigure id=\"attachment_10549773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\">\u003cimg class=\"wp-image-10549773 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\" alt=\"A set list Wilson hand wrote for his upcoming tour.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A set list Wilson hand-wrote for his upcoming tour. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the couch. If there’s one takeaway Wilson wants audiences to get from the film, it’s this:\u003c/p>\n\u003cp>“I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.”\u003c/p>\n\u003cp>“There’s light at the end of the tunnel,” offers Melinda. “People that have a mental illness, they don’t have to stay stuck with it. There’s help.”\u003c/p>\n\u003cp>Now, after talking for 44 minutes, Brian’s ready to get off the couch and get on with his daily ritual.\u003c/p>\n\u003cp>“I go to a park and take walks for a half-hour every day,” he says.\u003c/p>\n\u003cp>Does he get recognized?\u003c/p>\n\u003cp>“Yeah, a lot. Yeah. People say, ‘Hi Brian, how are you?’ and I don’t know who in the hell-heck they are. I don’t know. I think I’m going to take an exercise right now.”\u003c/p>\n\u003cp>He shakes hands, says, “Thank you very much” politely, and then he’s gone.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Soon Wilson sets off on a world tour, once again bringing music and joy to people he doesn’t know, and perhaps walking around a park near you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brian Wilson turns 73 this summer, but he’s not slowing down. The former Beach Boy has released \"No Pier Pressure,\" his 11th solo album, he’s rehearsing for a world tour, and this month the Wilson biopic \"\u003ca href=\"http://www.loveandmercyfilm.com/\">Love & Mercy\u003c/a>\" hits theaters, telling a deeply personal tale that’s not all fun, fun, fun.\u003c/p>\n\u003cp>Before we go any further, be aware that Wilson is not exactly a huge fan of interviews. While many celebrities have no problem engaging in lengthy discourse about themselves and their art, one gets the feeling that Wilson is far more interested in simply making music. Or relaxing with his family. Or eating a melted cheese sandwich. He loves a melted cheese sandwich.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/209014039&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/209014039'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>His answers are notoriously short, and often delivered in a breathless staccato. He says “right” a lot. Gets bored easily. And, coming up on his 73\u003csup>rd\u003c/sup> birthday, he's had to talk about himself to those looking to dissect his songs, his thoughts and his genius since Kennedy was in the White House.\u003c/p>\n\u003cp>Having said that, Wilson has his own unique charm. He’s an endearing guy. You root for him, by God. He’s painfully honest at times, though there’s apparently not a mean, rude or nasty bone in his body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Love & Mercy\" delves deeply into his life, examining his struggles with mental illness and drug abuse, his years under the care of controversial psychotherapist Dr. Eugene Landy, his relationship with second wife Melinda -- they met in 1986, married in ‘95 -- and the brilliant music he’s created that has come to define a time and place and state of mind for at least a couple of generations.\u003c/p>\n\u003cfigure id=\"attachment_10551024\" class=\"wp-caption alignright\" style=\"max-width: 493px\">\u003cimg class=\" wp-image-10551024\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BriansRoom-800x645.jpg\" alt=\"Artifacts in Brian Wilson’s music room.\" width=\"493\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-800x645.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-400x323.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1440x1162.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1180x952.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-960x775.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom.jpg 1920w\" sizes=\"(max-width: 493px) 100vw, 493px\">\u003cfigcaption class=\"wp-caption-text\">Artifacts in Brian Wilson’s music room. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wilsons live with their five kids and 12 dogs in a big, but far from ostentatious, house in a gated Beverly Hills community.\u003c/p>\n\u003cp>Upstairs is Brian’s music room. Tall ceilings. Dark drapes. It’s quiet, peaceful. He’s got a grand piano, and a table covered with well-dusted awards and trophies. There are gold records, still crated, leaning against the wall, along with a portrait of his late brother, Carl, whose soaring, sweet high tenor voice graced many a Beach Boys hit. “God Only Knows”? That’s Carl.\u003c/p>\n\u003cp>Mr. and Mrs. Wilson enter the room -- Melinda rarely does interviews and has little truck with the spotlight -- and hunker down in a deep leather couch. They were involved with \"Love & Mercy\" to some degree, a Hollywood production they’ve been championing off and on for many years.\u003c/p>\n\u003cp>Brian spent time with the two actors who portray him, Paul Dano as 1960s Wilson at the apex of his creative powers, and John Cusack as the deeply troubled ’80s Wilson in the thrall of Dr. Landy. The psychotherapist helped bring Brian back from self-destruction, but ultimately took control over his patient’s life. He was barred from contact by court order in 1992. Melinda had a three-hour lunch with Elizabeth Banks, her onscreen counterpart, and consulted on the script.\u003c/p>\n\u003cp>Still, they weren’t ready for what they saw on screen.\u003c/p>\n\u003cp>“The first time I saw it, it was like, I didn’t know what to say,” recalls Melinda. “And Brian wasn’t with me ’cause I wanted to be the buffer in case it was just, 'Oh my God.\" And it was like, 'Oh my God.' I couldn’t keep my mouth shut. I said to Bill [Pohlad, the film’s director], ‘I’ve got to go. I don’t know what to think.’ And I drove around the city for two hours.’”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.'\u003ccite>Brian Wilson\u003c/cite>\u003c/aside>\n\u003cp>“It was tough to watch,” admits Brian. “It really was.” Given the vivid scenes of the musician’s downward mental spiral and substance abuse, one can only imagine.\u003c/p>\n\u003cp>These days the substances are long gone, but Melinda says her husband still suffers from “schizoaffective disorder, which is a manic depressive with auditory hallucinations.”\u003c/p>\n\u003cp>“I have voices in my head,” clarifies Brian. “Mostly it’s derogatory. Some of it’s cheerful. Most of it isn’t.”\u003c/p>\n\u003cp>It’s a condition that’s clearly very difficult to live with, and one that is often misunderstood.\u003c/p>\n\u003cp>“It shows you how strong he really is,” says Melinda, “to go through what he went through, to go through what he still goes through with the voices, to be brave enough to get up onstage and do a concert.\u003c/p>\n\u003cp>“That’s what I wish people would take away from Brian’s story. Not that he’s this poor, pathetic guy that has had all these horrible things happen to him. Yeah, he has, but he’s lived through it and he’s managed to make beautiful music at the same time, he’s managed to be a good dad to our kids, he’s managed to put up with me. And that’s not easy.”\u003c/p>\n\u003cp>The undercurrent to the film, and to their real lives, is far from dark.\u003c/p>\n\u003cfigure id=\"attachment_10551030\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BWWedding-800x1065.jpg\" alt=\"Brian and Melinda Wilson on their wedding day in 1995.\" width=\"800\" height=\"1065\" class=\"size-medium wp-image-10551030\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-800x1065.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1440x1918.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1180x1571.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-960x1279.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian and Melinda Wilson on their wedding day in 1995.\u003cbr> \u003ccite>(Courtesy of the Wilson personal archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Basically, it’s a love story involving she and I,” says Brian. “Also it captured my life, you know. What I went through, what I did with the records I produced and stuff.\"\u003c/p>\n\u003cp>“And that was a love story in and of itself, the music aspect,” Melinda says. “So the whole thing’s a love story.\"\u003c/p>\n\u003cp>A love story that began 29 years ago. She was selling Cadillacs at a west Los Angeles dealership. He wanted to buy one. They were united over a brown ’86 Seville.\u003c/p>\n\u003cp>“Right! Right! Yeah,” gushes Brian, excited at the memory. And the conversation between them begins.\u003c/p>\n\u003cp>“It was the ugliest car we had.”\u003c/p>\n\u003cp>“I liked it, though, I chose that one 'cause I liked it. 'That one’s for me.' ”\u003c/p>\n\u003cp>“My take is that he liked it because it was the first one he saw and he didn’t have to go upstairs and traipse through 300 cars.”\u003c/p>\n\u003cp>“A car’s OK for me, you know? A car’s all right to drive. Not to look at, but to get in it and drive it.”\u003c/p>\n\u003cp>“You see what I mean?” says Melinda.\u003c/p>\n\u003cp>It should be pointed out that a car is also good to write songs about.\u003c/p>\n\u003cp>“Right, well, I wrote a few car songs, yeah.\"\u003c/p>\n\u003cfigure id=\"attachment_10549771\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\">\u003cimg class=\"size-full wp-image-10549771\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\" alt=\"Musician Darian Sahanaja with his boss, Brian Wilson.\" width=\"1920\" height=\"2679\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-400x558.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-800x1116.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1440x2009.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1180x1646.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-960x1340.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Darian Sahanaja with his boss, Brian Wilson. \u003ccite>(Jeff McEvoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darian Sahanaja knows all about Wilson’s car songs, and every other song the man has written. Since 1999, Sahanaja has been a singer and keyboardist for Brian Wilson's Band. But far from being simply a hired gun, Sahanaja, 52, comes by his Brian passion honestly.\u003c/p>\n\u003cp>“The Beach Boys are my favorite group,” the Los Angeles native says. “They were since I was 12 years old. In a period when it was way cooler to be listening to Led Zeppelin and the Stones and Aerosmith and all those groups, I actually took regular beatings from neighborhood boys because I loved the Beach Boys.”\u003c/p>\n\u003cp>Sahanaja was supervising musical consultant on \"Love & Mercy,\" translating his passion and respect for the man and material into meticulous recreations of Wilson in the studio during the classic ‘60’s \"Pet Sounds\" era.\u003c/p>\n\u003cp>“The last cut I saw was very satisfying to the point where I actually teared up,” he says. “The filmmaking matched the artist. He’s an enigma, Brian’s an enigma, and the filmmaking felt enigmatic, so there’s lots of moments of beauty and sadness, which to me is a big part of Brian’s music. Joy and tragedy, you know?”\u003c/p>\n\u003cp>While joy seems a hard-won commodity in Wilson’s life, Sahanaja has witnessed it firsthand.\u003c/p>\n\u003cp>“I have to say, when he’s feeling the love from an audience and he’s feeling the band and the vocals and it sounds really good, it’s because it just makes him — for that moment — feel so happy, which is probably something he doesn’t feel a lot. Those are the moments he’s wanting, you know, he’s hoping for.”\u003c/p>\n\u003cfigure id=\"attachment_10549773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\">\u003cimg class=\"wp-image-10549773 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\" alt=\"A set list Wilson hand wrote for his upcoming tour.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A set list Wilson hand-wrote for his upcoming tour. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the couch. If there’s one takeaway Wilson wants audiences to get from the film, it’s this:\u003c/p>\n\u003cp>“I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.”\u003c/p>\n\u003cp>“There’s light at the end of the tunnel,” offers Melinda. “People that have a mental illness, they don’t have to stay stuck with it. There’s help.”\u003c/p>\n\u003cp>Now, after talking for 44 minutes, Brian’s ready to get off the couch and get on with his daily ritual.\u003c/p>\n\u003cp>“I go to a park and take walks for a half-hour every day,” he says.\u003c/p>\n\u003cp>Does he get recognized?\u003c/p>\n\u003cp>“Yeah, a lot. Yeah. People say, ‘Hi Brian, how are you?’ and I don’t know who in the hell-heck they are. I don’t know. I think I’m going to take an exercise right now.”\u003c/p>\n\u003cp>He shakes hands, says, “Thank you very much” politely, and then he’s gone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon Wilson sets off on a world tour, once again bringing music and joy to people he doesn’t know, and perhaps walking around a park near you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Game Boy, a Sony PlayStation controller and a few other video game consoles litter Jordan Gray’s kitchen table. Holding one, he plays the buttons in rapid succession, emitting bleepy electronic sounds through a computer. Slowly, he starts assembling a song.\u003c/p>\n\u003cp>“The Nintendo has a five-channel sound chip that can produce certain sounds,” Gray explains. “And the Game Boy has a four-channel chip that provides different sounds.”\u003c/p>\n\u003cp>If you played video games growing up, you might recognize the sounds in Gray’s music. It falls into a genre called Chip Tune — music that’s written specifically on video game consoles. He uses them like a DJ, composing beats and loops, live in front of audiences.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/209013737″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>This weekend, audiophiles will head to the\u003ca href=\"http://megapolisfestival.org/\"> Megapolis Audio Festival \u003c/a>in Oakland to hear and explore music like this. At Megapolis, Gray will lead a workshop showing people the basics of making a beat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you’ve played games before, it comes as second nature,” Gray says.\u003c/p>\n\u003cfigure id=\"attachment_10550844\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10550844\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg\" alt=\"Chip music artist Jordan Gray, aka starpause, while on tour in Australia.\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1440x938.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chip music artist Jordan Gray, aka starpause, while on tour in Australia. \u003ccite>(Courtesy Jordan Gray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He will join other musicians, podcasters and technologists who are obsessed with sound. In its three years, this is the first time Megapolis has come to California. In past years it was held in New York City, Baltimore and Boston. For an entry fee, visitors will get access to workshops, live performances and audio installations.\u003c/p>\n\u003cp>In the basement of a performing arts theater at Mills College in Oakland, Julie Herndon is working on her installation for the festival. She reaches into a paper bag and pulls out a handful of the 100 or so music boxes inside.\u003c/p>\n\u003cp>Herndon and her partner, Dan Gottwald, will stick them to buildings, bike racks, pipes — anything they can find that will resonate in downtown Oakland. They’re also attaching things they find around the city — like gravel — to the music boxes to change and distort how they sound.\u003c/p>\n\u003cp>“The music boxes aren’t playing the songs you’d expect them to play,” Herndon says. “They’re playing actual city textures.”\u003c/p>\n\u003cfigure id=\"attachment_10551182\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10551182\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg\" alt=\"Two of Julie Herndon's music boxes, attached to a resonant pole in Oakland.\" width=\"800\" height=\"967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-400x484.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1440x1741.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1180x1426.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-960x1161.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Julie Herndon’s music boxes, attached to a resonant pole in Oakland. \u003ccite>(Courtesy Julie Herndon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says the point is to bring people closer to their city environment. “Like a pipe they’ve walked by 40 times, or 40,000 times and they’ve never really stopped to look at it or touch it,” she explains.\u003c/p>\n\u003cp>Usually Herndon writes classical music. But she says music boxes hold special emotion for her.\u003c/p>\n\u003cp>“The little songs they play, they’re not big enough to totally encapsulate the song, but they reference,” she says. “They’re kind of like memories. You can be like, ‘Oh, yeah, I remember being a child, or I remember that song in Cats.’ ”\u003c/p>\n\u003cp>She says they evoke nostalgia. Other sounds at the festival, however, are less delicate.\u003c/p>\n\u003cp>In his basement studio, San Francisco musician Matt Moldover shows me one of his newest creations. It’s a small circuit board attached to one corner of a CD case.\u003c/p>\n\u003cp>“It makes sounds. And you can modulate that sound with light,” Moldover says. “You can cast shadows on it, or just move it around so the ambient light hits it differently.”\u003c/p>\n\u003cp>But this synthesizer is actually soldered on to every CD case of his latest album. At Megapolis, he’ll teach people how to build their own simple synthesizer.\u003c/p>\n\u003cp>“I’ll show you what it looks like,” he says, explaining the circuit boards. “You match it up with the pictures on here, and you learn about polarity, how to orient these things so you’re putting the circuit together correctly.”\u003c/p>\n\u003cp>According to Moldover, with all the tools out there right now, digital or analog, there’s a whole universe of ways to create sound.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"http://megapolisfestival.org/schedule/\">Megapolis Audio Festival\u003c/a> runs through the weekend (June 5-7) at venues in downtown Oakland.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Game Boy, a Sony PlayStation controller and a few other video game consoles litter Jordan Gray’s kitchen table. Holding one, he plays the buttons in rapid succession, emitting bleepy electronic sounds through a computer. Slowly, he starts assembling a song.\u003c/p>\n\u003cp>“The Nintendo has a five-channel sound chip that can produce certain sounds,” Gray explains. “And the Game Boy has a four-channel chip that provides different sounds.”\u003c/p>\n\u003cp>If you played video games growing up, you might recognize the sounds in Gray’s music. It falls into a genre called Chip Tune — music that’s written specifically on video game consoles. He uses them like a DJ, composing beats and loops, live in front of audiences.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/209013737″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/209013737″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This weekend, audiophiles will head to the\u003ca href=\"http://megapolisfestival.org/\"> Megapolis Audio Festival \u003c/a>in Oakland to hear and explore music like this. At Megapolis, Gray will lead a workshop showing people the basics of making a beat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you’ve played games before, it comes as second nature,” Gray says.\u003c/p>\n\u003cfigure id=\"attachment_10550844\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10550844\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg\" alt=\"Chip music artist Jordan Gray, aka starpause, while on tour in Australia.\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1440x938.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chip music artist Jordan Gray, aka starpause, while on tour in Australia. \u003ccite>(Courtesy Jordan Gray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He will join other musicians, podcasters and technologists who are obsessed with sound. In its three years, this is the first time Megapolis has come to California. In past years it was held in New York City, Baltimore and Boston. For an entry fee, visitors will get access to workshops, live performances and audio installations.\u003c/p>\n\u003cp>In the basement of a performing arts theater at Mills College in Oakland, Julie Herndon is working on her installation for the festival. She reaches into a paper bag and pulls out a handful of the 100 or so music boxes inside.\u003c/p>\n\u003cp>Herndon and her partner, Dan Gottwald, will stick them to buildings, bike racks, pipes — anything they can find that will resonate in downtown Oakland. They’re also attaching things they find around the city — like gravel — to the music boxes to change and distort how they sound.\u003c/p>\n\u003cp>“The music boxes aren’t playing the songs you’d expect them to play,” Herndon says. “They’re playing actual city textures.”\u003c/p>\n\u003cfigure id=\"attachment_10551182\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10551182\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg\" alt=\"Two of Julie Herndon's music boxes, attached to a resonant pole in Oakland.\" width=\"800\" height=\"967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-400x484.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1440x1741.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1180x1426.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-960x1161.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Julie Herndon’s music boxes, attached to a resonant pole in Oakland. \u003ccite>(Courtesy Julie Herndon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says the point is to bring people closer to their city environment. “Like a pipe they’ve walked by 40 times, or 40,000 times and they’ve never really stopped to look at it or touch it,” she explains.\u003c/p>\n\u003cp>Usually Herndon writes classical music. But she says music boxes hold special emotion for her.\u003c/p>\n\u003cp>“The little songs they play, they’re not big enough to totally encapsulate the song, but they reference,” she says. “They’re kind of like memories. You can be like, ‘Oh, yeah, I remember being a child, or I remember that song in Cats.’ ”\u003c/p>\n\u003cp>She says they evoke nostalgia. Other sounds at the festival, however, are less delicate.\u003c/p>\n\u003cp>In his basement studio, San Francisco musician Matt Moldover shows me one of his newest creations. It’s a small circuit board attached to one corner of a CD case.\u003c/p>\n\u003cp>“It makes sounds. And you can modulate that sound with light,” Moldover says. “You can cast shadows on it, or just move it around so the ambient light hits it differently.”\u003c/p>\n\u003cp>But this synthesizer is actually soldered on to every CD case of his latest album. At Megapolis, he’ll teach people how to build their own simple synthesizer.\u003c/p>\n\u003cp>“I’ll show you what it looks like,” he says, explaining the circuit boards. “You match it up with the pictures on here, and you learn about polarity, how to orient these things so you’re putting the circuit together correctly.”\u003c/p>\n\u003cp>According to Moldover, with all the tools out there right now, digital or analog, there’s a whole universe of ways to create sound.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"http://megapolisfestival.org/schedule/\">Megapolis Audio Festival\u003c/a> runs through the weekend (June 5-7) at venues in downtown Oakland.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>UPDATE:\u003c/strong>\u003cbr>\nThe 30th annual Irving M. Klein International String Competition is now history. This year’s Chamberlain Family First Prizewinner is Oliver Herbert, the semi-finalist we talked to for our story below. Herbert grew up in San Francisco, attended Ruth Asawa School of the Arts and is a former member of the San Francisco Symphony Youth Orchestra. He’ll enter Philadelphia’s Curtis Institute this fall. The judges also awarded Herbert the prize for “Best Performance of Solo Bach.”\u003c/p>\n\u003cp>\u003cem>Here’s the original piece:\u003c/em>\u003c/p>\n\u003cp>One of the nation’s top music competitions is celebrating its 30th anniversary this week in San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.californiamusiccenter.org/klein_about_competition.php\" target=\"_blank\" rel=\"noopener\">Irving M. Klein International String Competition\u003c/a> has given dozens of young musicians a boost as they started their careers.\u003c/p>\n\u003cp>Among the former winners are classical music superstars like violinist Jennifer Koh and up-and-comers such as \u003ca href=\"http://www.pugetsound.edu/faculty-pages/drequiro\" target=\"_blank\" rel=\"noopener\">cellist and Oaklander David Requiro\u003c/a>. The competition’s winners also go on to take leading positions in some of the country’s most prestigious orchestras, including The New York Philharmonic and the Boston Symphony.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The top finishers get cash prizes, and the winner gets booked for five performances with Bay Area symphony and chamber ensembles.\u003c/p>\n\u003cp>We recently talked to former winner, 25-year-old violinist Tessa Lark (2008), and to 17-year-old Oliver Herbert of San Francisco, a cello player, and one of the eight semi-finalists in this year’s competition.\u003c/p>\n\u003cp>\u003cstrong>What’s so special about the Klein Competition?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Lark:\u003c/strong>\u003c/p>\n\u003cp>The thing that drew me to it is that it’s what I call a real world competition, in that the prize involves a lot of performances afterwards. Of course it’s nice to win a competition, have it on your resume and win a cash prize of some sort. But what really drew me to the Klein is it puts your foot in the place you want to be early on.\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>I’m still kind of new to the competition scene. But I have some friends who’ve done it in the past. My goal in entering a competition isn’t necessarily to win a prize. It gives me a goal and something to practice for. It also gives me the experience of hearing other people. Because at a competition at that level, it’s really inspiring to meet the other musicians and play with them.\u003c/p>\n\u003cfigure id=\"attachment_10719910\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10719910\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-787x1180.jpg\" alt=\"Oliver Herbert, one of eight Klein Competition semi-finalists this year\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-960x1440.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oliver Herbert, one of eight Klein Competition semi-finalists this year \u003ccite>(Todd Rosenberg Photography 2015)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your parents all play instruments. But what got you started playing when you were younger?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Lark:\u003c/strong>\u003c/p>\n\u003cp>There was always music around the house and I always wanted to create it myself. There was a toy keyboard that I played.\u003c/p>\n\u003cp>I played mandolin. Before mandolin, I was begging for piano lessons. But we didn’t have the means for a piano in the house at that time and the teacher we found also taught violin and said, “maybe you’d like to start with that instead.” I supposedly declared myself a violinist at age seven.\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>I’m told that I showed interest in playing. So when I was two or three years old, my parents started me on the violin and piano. I didn’t think that it was an unusual thing to be doing because both my parents were playing and there was always practicing in the house, so it was my way of fitting in. After a while I started to enjoy it. Eventually I discovered the cello when I was about five years old. When I was seven I got big enough and my parents allowed me start studies on the cello.\u003c/p>\n\u003cp>\u003cstrong>I get goose bumps as an audience member when I’m listening to a great performance of beautiful music. Why does performing mean so much to you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Lark:\u003c/strong>\u003c/p>\n\u003cp>It’s exactly the same for me: It’s that goose bump factor — and that words are not required for instrumental music. In a way, it feels like a first language for me. So if you can’t put something into words, you can go to music and express yourself in that way. And I think that’s the amazing thing about the live concert experience too: that people can go about their days and then come to a concert and turn off their minds, woes and worries and be immersed in music.\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>The start of it all was falling in love with the music itself, discovering new composers and listening to great music. And eventually when I started performing, I discovered how great and profound it was to be able to share that feeling with other people as well.\u003c/p>\n\u003cp>\u003cstrong>Who are your favorite composers? Whose music do you love to play?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Lark:\u003c/strong>\u003c/p>\n\u003cp>The thing I love most is slow and sultry romantic music. I adore Brahms so much. Any of those composers who have the knack for writing beautiful “ear-worm” music. Schubert, Chopin.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yahbGooZ8cY\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>I love to play solo Bach. I don’t love to perform it, honestly, because it’s very nerve-wracking. But sitting in a room by myself, Bach is really special because of the way he wrote for the cello. I love playing new music, and in the Klein competition I get to play a brand new piece — \u003cem>Ophelia\u003c/em> by \u003ca href=\"http://paolaprestini.com/\" target=\"_blank\" rel=\"noopener\">Paola Prestini,\u003c/a> commissioned for the competition. Recently I started a little project where I tried to transcribe some Schubert songs for the cello, because the cello is a very vocal instrument and I think the Schubert songs really translate well. But I very rarely find a piece that I don’t like playing. My tastes are broad.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TdAe8oEZ0zk\u003c/p>\n\u003cp>\u003cstrong>What do you listen to when you’re not listening to classical music?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Clark:\u003c/strong>\u003c/p>\n\u003cp>White noise.\u003c/p>\n\u003cp>I do like jazz a lot — any of the old greats like Miles Davis and Wynton Marsalis.\u003c/p>\n\u003cp>But also bluegrass fits in all the time, any day. I can let my hair down. I really like the “new grass” sounds of the Punch Brothers. Edgar Meyer does amazing stuff.\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>I used to love classic rock. I listened to Led Zeppelin a lot. And I also love alternative bands like Radiohead. But I’m playing so much music lately, that I actually don’t find a lot of time to just sit down and listen. The music on my phone is primarily classical these days.\u003c/p>\n\u003cp>\u003cstrong>Tessa: You mentioned white noise. Did you mean that?\u003c/strong>\u003c/p>\n\u003cp>I’m out in the countryside now here in upstate New York. Going out into the country and listening to nothing but natural sound is probably my favorite thing to do.\u003c/p>\n\u003cp>\u003cstrong>Oliver: What do you think about about what Tessa says about turning off the sound?\u003c/strong>\u003c/p>\n\u003cp>I agree silence is really great. I’m a cello player, so my instrument isn’t that loud. But my father is a timpanist. He always tells me how great it is to just get home and have nothing turned on and just sit in the quiet.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 30th annual Irving M. Klein Competition takes place June 4-7, 2015 at San Francisco State University, San Francisco.\u003c/em>\u003c/p>\n\n",
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"excerpt": "This week, the major international classical music competition for young string players celebrates its 30th anniversary and KQED's Cy Musiker talks to competitors past and present.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>UPDATE:\u003c/strong>\u003cbr>\nThe 30th annual Irving M. Klein International String Competition is now history. This year’s Chamberlain Family First Prizewinner is Oliver Herbert, the semi-finalist we talked to for our story below. Herbert grew up in San Francisco, attended Ruth Asawa School of the Arts and is a former member of the San Francisco Symphony Youth Orchestra. He’ll enter Philadelphia’s Curtis Institute this fall. The judges also awarded Herbert the prize for “Best Performance of Solo Bach.”\u003c/p>\n\u003cp>\u003cem>Here’s the original piece:\u003c/em>\u003c/p>\n\u003cp>One of the nation’s top music competitions is celebrating its 30th anniversary this week in San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.californiamusiccenter.org/klein_about_competition.php\" target=\"_blank\" rel=\"noopener\">Irving M. Klein International String Competition\u003c/a> has given dozens of young musicians a boost as they started their careers.\u003c/p>\n\u003cp>Among the former winners are classical music superstars like violinist Jennifer Koh and up-and-comers such as \u003ca href=\"http://www.pugetsound.edu/faculty-pages/drequiro\" target=\"_blank\" rel=\"noopener\">cellist and Oaklander David Requiro\u003c/a>. The competition’s winners also go on to take leading positions in some of the country’s most prestigious orchestras, including The New York Philharmonic and the Boston Symphony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The top finishers get cash prizes, and the winner gets booked for five performances with Bay Area symphony and chamber ensembles.\u003c/p>\n\u003cp>We recently talked to former winner, 25-year-old violinist Tessa Lark (2008), and to 17-year-old Oliver Herbert of San Francisco, a cello player, and one of the eight semi-finalists in this year’s competition.\u003c/p>\n\u003cp>\u003cstrong>What’s so special about the Klein Competition?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Lark:\u003c/strong>\u003c/p>\n\u003cp>The thing that drew me to it is that it’s what I call a real world competition, in that the prize involves a lot of performances afterwards. Of course it’s nice to win a competition, have it on your resume and win a cash prize of some sort. But what really drew me to the Klein is it puts your foot in the place you want to be early on.\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>I’m still kind of new to the competition scene. But I have some friends who’ve done it in the past. My goal in entering a competition isn’t necessarily to win a prize. It gives me a goal and something to practice for. It also gives me the experience of hearing other people. Because at a competition at that level, it’s really inspiring to meet the other musicians and play with them.\u003c/p>\n\u003cfigure id=\"attachment_10719910\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10719910\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-787x1180.jpg\" alt=\"Oliver Herbert, one of eight Klein Competition semi-finalists this year\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-960x1440.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oliver Herbert, one of eight Klein Competition semi-finalists this year \u003ccite>(Todd Rosenberg Photography 2015)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your parents all play instruments. But what got you started playing when you were younger?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Lark:\u003c/strong>\u003c/p>\n\u003cp>There was always music around the house and I always wanted to create it myself. There was a toy keyboard that I played.\u003c/p>\n\u003cp>I played mandolin. Before mandolin, I was begging for piano lessons. But we didn’t have the means for a piano in the house at that time and the teacher we found also taught violin and said, “maybe you’d like to start with that instead.” I supposedly declared myself a violinist at age seven.\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>I’m told that I showed interest in playing. So when I was two or three years old, my parents started me on the violin and piano. I didn’t think that it was an unusual thing to be doing because both my parents were playing and there was always practicing in the house, so it was my way of fitting in. After a while I started to enjoy it. Eventually I discovered the cello when I was about five years old. When I was seven I got big enough and my parents allowed me start studies on the cello.\u003c/p>\n\u003cp>\u003cstrong>I get goose bumps as an audience member when I’m listening to a great performance of beautiful music. Why does performing mean so much to you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Lark:\u003c/strong>\u003c/p>\n\u003cp>It’s exactly the same for me: It’s that goose bump factor — and that words are not required for instrumental music. In a way, it feels like a first language for me. So if you can’t put something into words, you can go to music and express yourself in that way. And I think that’s the amazing thing about the live concert experience too: that people can go about their days and then come to a concert and turn off their minds, woes and worries and be immersed in music.\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>The start of it all was falling in love with the music itself, discovering new composers and listening to great music. And eventually when I started performing, I discovered how great and profound it was to be able to share that feeling with other people as well.\u003c/p>\n\u003cp>\u003cstrong>Who are your favorite composers? Whose music do you love to play?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Lark:\u003c/strong>\u003c/p>\n\u003cp>The thing I love most is slow and sultry romantic music. I adore Brahms so much. Any of those composers who have the knack for writing beautiful “ear-worm” music. Schubert, Chopin.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yahbGooZ8cY'\n title='//www.youtube.com/embed/yahbGooZ8cY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>I love to play solo Bach. I don’t love to perform it, honestly, because it’s very nerve-wracking. But sitting in a room by myself, Bach is really special because of the way he wrote for the cello. I love playing new music, and in the Klein competition I get to play a brand new piece — \u003cem>Ophelia\u003c/em> by \u003ca href=\"http://paolaprestini.com/\" target=\"_blank\" rel=\"noopener\">Paola Prestini,\u003c/a> commissioned for the competition. Recently I started a little project where I tried to transcribe some Schubert songs for the cello, because the cello is a very vocal instrument and I think the Schubert songs really translate well. But I very rarely find a piece that I don’t like playing. My tastes are broad.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TdAe8oEZ0zk'\n title='//www.youtube.com/embed/TdAe8oEZ0zk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What do you listen to when you’re not listening to classical music?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Clark:\u003c/strong>\u003c/p>\n\u003cp>White noise.\u003c/p>\n\u003cp>I do like jazz a lot — any of the old greats like Miles Davis and Wynton Marsalis.\u003c/p>\n\u003cp>But also bluegrass fits in all the time, any day. I can let my hair down. I really like the “new grass” sounds of the Punch Brothers. Edgar Meyer does amazing stuff.\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>I used to love classic rock. I listened to Led Zeppelin a lot. And I also love alternative bands like Radiohead. But I’m playing so much music lately, that I actually don’t find a lot of time to just sit down and listen. The music on my phone is primarily classical these days.\u003c/p>\n\u003cp>\u003cstrong>Tessa: You mentioned white noise. Did you mean that?\u003c/strong>\u003c/p>\n\u003cp>I’m out in the countryside now here in upstate New York. Going out into the country and listening to nothing but natural sound is probably my favorite thing to do.\u003c/p>\n\u003cp>\u003cstrong>Oliver: What do you think about about what Tessa says about turning off the sound?\u003c/strong>\u003c/p>\n\u003cp>I agree silence is really great. I’m a cello player, so my instrument isn’t that loud. But my father is a timpanist. He always tells me how great it is to just get home and have nothing turned on and just sit in the quiet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "BottleRock 2015 Review: Now on its Feet, a Festival in Search of an Identity",
"headTitle": "BottleRock 2015 Review: Now on its Feet, a Festival in Search of an Identity | KQED",
"content": "\u003cp>The inaugural 2013 BottleRock festival in Napa was defined by a \u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/2013-artists/\" target=\"_blank\" rel=\"noopener\">spectacular lineup\u003c/a> in an unbelievably small town. The second year came to be defined by a \u003ca href=\"http://www.stereogum.com/1676910/is-bottlerock-the-strangest-festival-lineup-of-2014/news/\" target=\"_blank\" rel=\"noopener\">1990s retro vibe\u003c/a> and the improbable \u003ca href=\"http://napavalleyregister.com/news/local/resurgent-bottlerock-will-return-in/article_177e8aef-fb76-5831-b37c-705fce7edc05.html\" target=\"_blank\" rel=\"noopener\">resurrection of the festival\u003c/a> as a profitable enterprise.\u003c/p>\n\u003cp>But now that BottleRock is here to stay, we headed to Napa this year with a mind to determine its place — a “one-of-a-kind music experience,” according to marketing materials — amidst the increasing numbers of other similar music festivals popping up all over the place.\u003c/p>\n\u003cp>[gallery type=\"square\" ids=\"10720206,10720207,10720208,10720210,10720211,10720209\"]\u003c/p>\n\u003ch2>Friday, May 29\n\u003c/h2>\u003cp>Friday’s music at BottleRock got its first jolt of excitement with \u003ca href=\"http://courtneybarnett.com.au/\" target=\"_blank\" rel=\"noopener\">Courtney Barnett\u003c/a>, the Australian phenomenon whose debut album is guaranteed real estate on many year-end lists. With only a drummer and bassist, 26-year-old Barnett \u003ca href=\"https://www.youtube.com/watch?v=nHO1Xgp0ZSA\" target=\"_blank\" rel=\"noopener\">swayed and flailed around the stage\u003c/a> with no guitar pick, strumming chords with the back of her fingers and plucking out solos that pulled her catchy, urgent songs into new directions. Seeing the crowd slowly won over, with their cheers getting louder and longer after each song, was to witness a festival at its best: when it fosters discovery of new music.\u003c/p>\n\u003cp>But music takes a generally more diminished role at BottleRock. As a festival set in wine country, equal weight seems to be placed on wine and food. And since attendees can’t bring in their own food, options like $15 Indian plates and $23 pizza are a reality. Around 6:30pm on Friday, lines got very, very long. To save time, I found a short line, spent $9 on a bacon-topped hot dog, and then watched it fall apart in my hands. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The food focus was enhanced his year by a new Culinary Stage, where on Friday a crowd gathered to \u003cstrike>watch\u003c/strike> upload Instagram photos of Flavor Flav making fried chicken with \u003cem>Top Chef\u003c/em>’s Michael Voltaggio. But this idea of chefs and musicians in collaboration isn’t unique; it’s \u003ca href=\"http://www.sfoutsidelands.com/gastromagic\" target=\"_blank\" rel=\"noopener\">already a feature at Outside Lands\u003c/a> in San Francisco. The other noticeable new BottleRock attraction, the Silent Disco, has been \u003ca href=\"http://www.treasureislandfestival.com/2011/silent-disco/\" target=\"_blank\" rel=\"noopener\">happening at the Treasure Island Music Festival for several years\u003c/a>. Other features like large public art pieces, a food-truck court, and a VIP lounge with nice décor and low couches are standard-issue festival touches all over the country. \u003c/p>\n\u003cp>Was this truly a one-of-a-kind music experience? Halfway through the day, I couldn’t help but wonder what sort of meaningful cultural event I was supposed to be participating in.\u003c/p>\n\u003cp>Then I walked by a food booth called \u003ca href=\"https://instagram.com/p/3SO6gVySRK/\" target=\"_blank\" rel=\"noopener\">White Guy Pad Thai\u003c/a>, which seemed apt. “White Guy Pad Thai” is a perfect four-word review of the festival; \u003ca href=\"https://instagram.com/p/3SO6gVySRK/\" target=\"_blank\" rel=\"noopener\">White Guy Pad Thai\u003c/a> only exists because Pad Thai exists, and white guys want in on it, too. BottleRock exists only because other music festivals existed and \u003ca href=\"http://www.bohemian.com/northbay/start-of-something-big/Content?oid=2423150&showFullText=true\" target=\"_blank\" rel=\"noopener\">some white guys from Napa\u003c/a> wanted in on it too. Most of the bands are ready-made “festival bands,” like \u003ca href=\"http://www.themowglis.net/\" target=\"_blank\" rel=\"noopener\">the Mowglis\u003c/a>, all full of anthemic choruses and dance beats and magazine-current haircuts. The attendees fulfill their role as People Who Go To Festivals™, with headbands and booty shorts and lots of selfies, and only a passing interest in the music; the \u003cem>Press Democrat\u003c/em> \u003ca href=\"https://instagram.com/p/3Xqg0nSSaX/\" target=\"_blank\" rel=\"noopener\">quoted two people who either had no idea which bands were even playing, or just plain didn’t care\u003c/a>.\u003c/p>\n\u003cp>Public Enemy – who were welcomed to Napa in the local weekly by \u003ca href=\"http://www.bohemian.com/northbay/letters-to-the-editor-may-20-2015/Content?oid=2717102\" target=\"_blank\" rel=\"noopener\">being advised not to play “Fight the Power”\u003c/a> because police are \u003ca href=\"http://www.bohemian.com/northbay/letters-to-the-editor-may-20-2015/Content?oid=2717102\" target=\"_blank\" rel=\"noopener\">“sensitive around that kind of talk lately, especially when it’s coming from militant African Americans,”\u003c/a> I’m not kidding – delivered another welcome jolt of energy, dedicating “He Got Game” to Stephen Curry and playing a solid mix of classics and new material. \u003c/p>\n\u003cp>Backstage, I overheard someone ask Chuck D about his favorite type of wine. “I don’t drink,” he replied, going against the prevailing grain of BottleRock. In fact, on my half-mile walk back to the $40 parking lot, I saw a guy stumble down Soscol Ave., unable to hold himself up, and topple over the hood of a brand-new car and onto the ground at the Chevrolet dealership. —\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[gallery type=\"square\" ids=\"10720214,10720213,10720217,10720216,10720218,10720219\"]\u003c/p>\n\u003ch2>Saturday, May 30\u003c/h2>\n\u003cp>It was sometime after getting barked at by the lady at the first-aid station — the cost of free Band-Aids for one’s feet, as it turns out, is getting chastised for not wearing thicker socks to begin with — that we realized the tide had turned: the crowds weren’t happy day-drunk anymore. They were tired and wine-drunk, and they were going to take it out on their loved ones. A mom in rhinestone-covered sandals (while we’re talking footwear) scolded her teenage daughter for some rude rejoinder as they stormed away from the main stage, where the Avett Brothers were midway through \u003ca href=\"https://www.youtube.com/watch?v=8bqTdOq5duk\" target=\"_blank\" rel=\"noopener\">a huge-sounding set\u003c/a>.\u003c/p>\n\u003cp>Wine-fueled emotional volatility aside, the atmosphere on Saturday was something like a very expensive county fair: music to be heard, food trucks to wait in line for. With a short walk between four stages, festival \u003ca href=\"http://en.wikipedia.org/wiki/Fear_of_missing_out\" target=\"_blank\" rel=\"noopener\">FOMO\u003c/a> — the scourge of most fests with overlapping set times — was kept to a minimum. The sound, too, was the best of any outdoor show in recent memory. VIP areas and various levels of color-coded wristband hierarchy were present, but not to a degree that the general-admission experience felt like a cattle run.\u003c/p>\n\u003cp>So why did this festival, whose organizers have spent loads of money trying to rebrand it after a \u003ca href=\"http://napavalleyregister.com/news/local/new-investors-propose-a-bottlerock/article_467615e0-5711-11e3-b0a4-0019bb2963f4.html\" target=\"_blank\" rel=\"noopener\">disastrous first year\u003c/a>, still feel like something was missing? Witness Saturday’s Culinary Stage, where Scott Weiland and actor Earl Brown participated in a whole-hog butchery demonstration while answering stilted questions. (What’s on Weiland’s tour rider? Corona Light and socks.) Also new: the “Family Zone,” not to be confused with the “Craft Beer Zone,” which is, naturally, next to the “Whole Foods Market Culinary Garden.”\u003c/p>\n\u003cp>BottleRock has shown an affinity for ’90s throwback acts, so we’re going to borrow a line from Everclear: this festival is trying just a little too hard to be \u003ca href=\"https://www.youtube.com/watch?v=D1vQJFF2TKQ\" target=\"_blank\" rel=\"noopener\">everything to everyone\u003c/a>. The actual music part of the festival — at least, the ability to attract true music lovers, and then to direct attendees’ attention to the areas where music was happening — seemed to suffer as a result. \u003c/p>\n\u003cp>That’s a shame, because there were some excellent performances. At the top of that list is one Robert Plant, who took the stage in a mess of grey curls and a shiny silver shirt, opened his mouth, and delivered — in a voice that’s hardly aged at all — spine-tingling versions of both solo work and plenty of Led Zeppelin tunes, including “Whole Lotta Love,” “Going to California,” and “What Is and What Should Never Be.” The temperature had dropped at least 25 degrees in just 90 minutes, but none of the (mostly middle-aged) couples wrapped in blankets and swaying side to side seemed to mind. Same went for the mood over at Passion Pit’s stage, where Michael Angelakos & Co. delivered \u003ca href=\"https://www.youtube.com/watch?v=YeINWQDg7zg\" target=\"_blank\" rel=\"noopener\">infectiously, relentlessly upbeat electro-pop\u003c/a> for a similar audience, albeit one with maybe an average age of 23.\u003c/p>\n\u003cp>Other highlights, in no particular order, include a solid showing of local bands, including Doe Eye, Con Brio, the Brothers Comatose, and Fritz Montana; Portugal the Man covering Oasis, Pink Floyd, and “The Dayman Song” from \u003cem>It’s Always Sunny in Philadelphia\u003c/em>; funk powerhouse Lettuce and L.A. blues three-piece the Record Company both attracting great showings seemingly through sheer energy and likability alone, despite the presence of bigger names on nearby stages, and appearing to have more fun than anyone as a result.\u003c/p>\n\u003cp>Oh, and the big one: getting out of parking lot 8A in under 45 minutes. —\u003cem>Emma Silvers\u003c/em>\u003c/p>\n\u003cp>[gallery type=\"square\" ids=\"10720222,10720221,10720220,10720224,10720223,10720225\"]\u003c/p>\n\u003ch2>Sunday, May 31\u003c/h2>\n\u003cp>I went back into BottleRock on Sunday with an open mind. Echosmith, the band you know from “\u003ca href=\"https://www.youtube.com/watch?v=SSCzDykng4g\" target=\"_blank\" rel=\"noopener\">Cool Kids\u003c/a>,” helped freshen the outlook with a peppy set. Silverado Pickups segued from the Rolling Stones into the Grateful Dead. Los Amigos Invisibles had a full-fledged Latin ska dance party going on. Things were looking up.\u003c/p>\n\u003cp>But the collective attention was over on the Culinary Stage, where Snoop Dogg and chef Masaharu Morimoto joined forces for a sushi-making demo. It took Snoop less than 30 seconds to make the expected “roll one up” joke, and the short segment was more social spectacle than master class, anyway — kind of in the same way Vernon Davis’ earlier spot on the culinary stage was essentially an ongoing advertisement for his sponsor, a particular brand of beef jerky.\u003c/p>\n\u003cp>Put all this stuff together — the excitement of Snoop (“He’s dope!” announced stage host \u003ca href=\"https://twitter.com/liammayclem\" target=\"_blank\" rel=\"noopener\">Liam Mayclem\u003c/a>, awkwardly) in “the hood” of Napa (Mayclem, again); the showering of the crowd with free company swag while said company’s social media team takes photos to prove people’s excitement over a package of beef jerky; the \u003ca href=\"https://twitter.com/100PercentCork/status/604829664801005569\" target=\"_blank\" rel=\"noopener\">take-a-picture-of-this-and-Instagram-it-and-win-free-stuff\u003c/a> marketing apparatus in effect, widely, throughout the entire festival; the ho-hum lineup of predictable festival bands — and BottleRock’s identity starts to feel like one big opportunity to leverage one’s brand, both corporate and personal.\u003c/p>\n\u003cp>I’ve grown up in wine country, and I know Napa’s wine industry is especially thirsty for this leverage, hoping to mitigate its reputation for being old and staid. Apparently the insurance industry is, too: I walked by the Geico booth and noticed the staffers \u003ca href=\"https://instagram.com/p/3XYIocySYZ/\" target=\"_blank\" rel=\"noopener\">laying on their backs, having given up, making jokes on the mic about how nobody wanted to interact with their brand\u003c/a>. \u003c/p>\n\u003cp>As various executives funneled into the Platinum reserved area (six feet deep of guaranteed front-row viewing, \u003ca href=\"http://www.eventbrite.com/e/bottlerock-2015-platinum-tickets-with-vip-artist-lounge-access-may-30th-tickets-16886674498\" target=\"_blank\" rel=\"noopener\">tickets $3,500/pair\u003c/a>), Snoop Dogg took the stage to play songs that the general-admission crowd behind them knew much better, which is to say, at all: “P.I.M.P.,” “The Next Episode,” “Nuthin’ but a ‘G’ Thang,” “Drop it Like it’s Hot,” “Gin & Juice,” just a nonstop hit parade, peppered with snippets of songs by House of Pain, Notorious B.I.G., and Tupac. He had the crowd in the palm of his hand from the start, but by the time he closed with “\u003ca href=\"https://www.youtube.com/watch?v=Wa5B22KAkEk\" target=\"_blank\" rel=\"noopener\">Young, Wild & Free\u003c/a>,” he also achieved the festival brass ring of uniting 30,000 people in a singalong of love and positivity.\u003c/p>\n\u003cp>No Doubt followed with a similarly hit-ridden set, made off-kilter only for Gwen Stefani’s overeager testimonials about how she CAN’T BELIEVE you’re all here IN PERSON singing THESE SONGS with her, wow, it’s SO REAL. “I’m just trying to find people I connect with so I can think of their faces when I go to sleep at night,” she said in one of \u003ca href=\"https://youtu.be/nbEGgAPdoww?t=23m20s\" target=\"_blank\" rel=\"noopener\">many exhortations\u003c/a>. “Do you understand that? I’m going to \u003cem>think\u003c/em> of you tonight!”\u003c/p>\n\u003cp>Even for someone who never much cared much for No Doubt, I gotta say, they kept Snoop’s unifying ethos alive across the huge field. But the real spirit was outside the festival grounds: walking back to my car, I stopped into Nation’s Hamburgers, where the packed restaurant was interrupted by a man’s voice.\u003c/p>\n\u003cp>“Excuse me,” he announced, “but it’s this girl’s birthday, and she’s had a really terrible day. Can we all sing her ‘Happy Birthday?’”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://instagram.com/p/3X6d-eSSRo/\" target=\"_blank\" rel=\"noopener\">Everyone in the place obliged while a huge smile spread across her face\u003c/a>. It was, you might say, a one-of-a-kind music experience. — \u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10720232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2441.jpg\" alt=\"The parking lot at BottleRock 2015. (Photo: Gabe Meline)\" width=\"800\" height=\"512\" class=\"size-full wp-image-10720232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2441-400x256.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The parking lot at BottleRock 2015. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "With this year's record-breaking attendance, BottleRock Napa Valley is here to stay. But what unique place does it really occupy amidst the increasing number of outdoor music festivals?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The inaugural 2013 BottleRock festival in Napa was defined by a \u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/2013-artists/\" target=\"_blank\" rel=\"noopener\">spectacular lineup\u003c/a> in an unbelievably small town. The second year came to be defined by a \u003ca href=\"http://www.stereogum.com/1676910/is-bottlerock-the-strangest-festival-lineup-of-2014/news/\" target=\"_blank\" rel=\"noopener\">1990s retro vibe\u003c/a> and the improbable \u003ca href=\"http://napavalleyregister.com/news/local/resurgent-bottlerock-will-return-in/article_177e8aef-fb76-5831-b37c-705fce7edc05.html\" target=\"_blank\" rel=\"noopener\">resurrection of the festival\u003c/a> as a profitable enterprise.\u003c/p>\n\u003cp>But now that BottleRock is here to stay, we headed to Napa this year with a mind to determine its place — a “one-of-a-kind music experience,” according to marketing materials — amidst the increasing numbers of other similar music festivals popping up all over the place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Friday, May 29\n\u003c/h2>\u003cp>Friday’s music at BottleRock got its first jolt of excitement with \u003ca href=\"http://courtneybarnett.com.au/\" target=\"_blank\" rel=\"noopener\">Courtney Barnett\u003c/a>, the Australian phenomenon whose debut album is guaranteed real estate on many year-end lists. With only a drummer and bassist, 26-year-old Barnett \u003ca href=\"https://www.youtube.com/watch?v=nHO1Xgp0ZSA\" target=\"_blank\" rel=\"noopener\">swayed and flailed around the stage\u003c/a> with no guitar pick, strumming chords with the back of her fingers and plucking out solos that pulled her catchy, urgent songs into new directions. Seeing the crowd slowly won over, with their cheers getting louder and longer after each song, was to witness a festival at its best: when it fosters discovery of new music.\u003c/p>\n\u003cp>But music takes a generally more diminished role at BottleRock. As a festival set in wine country, equal weight seems to be placed on wine and food. And since attendees can’t bring in their own food, options like $15 Indian plates and $23 pizza are a reality. Around 6:30pm on Friday, lines got very, very long. To save time, I found a short line, spent $9 on a bacon-topped hot dog, and then watched it fall apart in my hands. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The food focus was enhanced his year by a new Culinary Stage, where on Friday a crowd gathered to \u003cstrike>watch\u003c/strike> upload Instagram photos of Flavor Flav making fried chicken with \u003cem>Top Chef\u003c/em>’s Michael Voltaggio. But this idea of chefs and musicians in collaboration isn’t unique; it’s \u003ca href=\"http://www.sfoutsidelands.com/gastromagic\" target=\"_blank\" rel=\"noopener\">already a feature at Outside Lands\u003c/a> in San Francisco. The other noticeable new BottleRock attraction, the Silent Disco, has been \u003ca href=\"http://www.treasureislandfestival.com/2011/silent-disco/\" target=\"_blank\" rel=\"noopener\">happening at the Treasure Island Music Festival for several years\u003c/a>. Other features like large public art pieces, a food-truck court, and a VIP lounge with nice décor and low couches are standard-issue festival touches all over the country. \u003c/p>\n\u003cp>Was this truly a one-of-a-kind music experience? Halfway through the day, I couldn’t help but wonder what sort of meaningful cultural event I was supposed to be participating in.\u003c/p>\n\u003cp>Then I walked by a food booth called \u003ca href=\"https://instagram.com/p/3SO6gVySRK/\" target=\"_blank\" rel=\"noopener\">White Guy Pad Thai\u003c/a>, which seemed apt. “White Guy Pad Thai” is a perfect four-word review of the festival; \u003ca href=\"https://instagram.com/p/3SO6gVySRK/\" target=\"_blank\" rel=\"noopener\">White Guy Pad Thai\u003c/a> only exists because Pad Thai exists, and white guys want in on it, too. BottleRock exists only because other music festivals existed and \u003ca href=\"http://www.bohemian.com/northbay/start-of-something-big/Content?oid=2423150&showFullText=true\" target=\"_blank\" rel=\"noopener\">some white guys from Napa\u003c/a> wanted in on it too. Most of the bands are ready-made “festival bands,” like \u003ca href=\"http://www.themowglis.net/\" target=\"_blank\" rel=\"noopener\">the Mowglis\u003c/a>, all full of anthemic choruses and dance beats and magazine-current haircuts. The attendees fulfill their role as People Who Go To Festivals™, with headbands and booty shorts and lots of selfies, and only a passing interest in the music; the \u003cem>Press Democrat\u003c/em> \u003ca href=\"https://instagram.com/p/3Xqg0nSSaX/\" target=\"_blank\" rel=\"noopener\">quoted two people who either had no idea which bands were even playing, or just plain didn’t care\u003c/a>.\u003c/p>\n\u003cp>Public Enemy – who were welcomed to Napa in the local weekly by \u003ca href=\"http://www.bohemian.com/northbay/letters-to-the-editor-may-20-2015/Content?oid=2717102\" target=\"_blank\" rel=\"noopener\">being advised not to play “Fight the Power”\u003c/a> because police are \u003ca href=\"http://www.bohemian.com/northbay/letters-to-the-editor-may-20-2015/Content?oid=2717102\" target=\"_blank\" rel=\"noopener\">“sensitive around that kind of talk lately, especially when it’s coming from militant African Americans,”\u003c/a> I’m not kidding – delivered another welcome jolt of energy, dedicating “He Got Game” to Stephen Curry and playing a solid mix of classics and new material. \u003c/p>\n\u003cp>Backstage, I overheard someone ask Chuck D about his favorite type of wine. “I don’t drink,” he replied, going against the prevailing grain of BottleRock. In fact, on my half-mile walk back to the $40 parking lot, I saw a guy stumble down Soscol Ave., unable to hold himself up, and topple over the hood of a brand-new car and onto the ground at the Chevrolet dealership. —\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Saturday, May 30\u003c/h2>\n\u003cp>It was sometime after getting barked at by the lady at the first-aid station — the cost of free Band-Aids for one’s feet, as it turns out, is getting chastised for not wearing thicker socks to begin with — that we realized the tide had turned: the crowds weren’t happy day-drunk anymore. They were tired and wine-drunk, and they were going to take it out on their loved ones. A mom in rhinestone-covered sandals (while we’re talking footwear) scolded her teenage daughter for some rude rejoinder as they stormed away from the main stage, where the Avett Brothers were midway through \u003ca href=\"https://www.youtube.com/watch?v=8bqTdOq5duk\" target=\"_blank\" rel=\"noopener\">a huge-sounding set\u003c/a>.\u003c/p>\n\u003cp>Wine-fueled emotional volatility aside, the atmosphere on Saturday was something like a very expensive county fair: music to be heard, food trucks to wait in line for. With a short walk between four stages, festival \u003ca href=\"http://en.wikipedia.org/wiki/Fear_of_missing_out\" target=\"_blank\" rel=\"noopener\">FOMO\u003c/a> — the scourge of most fests with overlapping set times — was kept to a minimum. The sound, too, was the best of any outdoor show in recent memory. VIP areas and various levels of color-coded wristband hierarchy were present, but not to a degree that the general-admission experience felt like a cattle run.\u003c/p>\n\u003cp>So why did this festival, whose organizers have spent loads of money trying to rebrand it after a \u003ca href=\"http://napavalleyregister.com/news/local/new-investors-propose-a-bottlerock/article_467615e0-5711-11e3-b0a4-0019bb2963f4.html\" target=\"_blank\" rel=\"noopener\">disastrous first year\u003c/a>, still feel like something was missing? Witness Saturday’s Culinary Stage, where Scott Weiland and actor Earl Brown participated in a whole-hog butchery demonstration while answering stilted questions. (What’s on Weiland’s tour rider? Corona Light and socks.) Also new: the “Family Zone,” not to be confused with the “Craft Beer Zone,” which is, naturally, next to the “Whole Foods Market Culinary Garden.”\u003c/p>\n\u003cp>BottleRock has shown an affinity for ’90s throwback acts, so we’re going to borrow a line from Everclear: this festival is trying just a little too hard to be \u003ca href=\"https://www.youtube.com/watch?v=D1vQJFF2TKQ\" target=\"_blank\" rel=\"noopener\">everything to everyone\u003c/a>. The actual music part of the festival — at least, the ability to attract true music lovers, and then to direct attendees’ attention to the areas where music was happening — seemed to suffer as a result. \u003c/p>\n\u003cp>That’s a shame, because there were some excellent performances. At the top of that list is one Robert Plant, who took the stage in a mess of grey curls and a shiny silver shirt, opened his mouth, and delivered — in a voice that’s hardly aged at all — spine-tingling versions of both solo work and plenty of Led Zeppelin tunes, including “Whole Lotta Love,” “Going to California,” and “What Is and What Should Never Be.” The temperature had dropped at least 25 degrees in just 90 minutes, but none of the (mostly middle-aged) couples wrapped in blankets and swaying side to side seemed to mind. Same went for the mood over at Passion Pit’s stage, where Michael Angelakos & Co. delivered \u003ca href=\"https://www.youtube.com/watch?v=YeINWQDg7zg\" target=\"_blank\" rel=\"noopener\">infectiously, relentlessly upbeat electro-pop\u003c/a> for a similar audience, albeit one with maybe an average age of 23.\u003c/p>\n\u003cp>Other highlights, in no particular order, include a solid showing of local bands, including Doe Eye, Con Brio, the Brothers Comatose, and Fritz Montana; Portugal the Man covering Oasis, Pink Floyd, and “The Dayman Song” from \u003cem>It’s Always Sunny in Philadelphia\u003c/em>; funk powerhouse Lettuce and L.A. blues three-piece the Record Company both attracting great showings seemingly through sheer energy and likability alone, despite the presence of bigger names on nearby stages, and appearing to have more fun than anyone as a result.\u003c/p>\n\u003cp>Oh, and the big one: getting out of parking lot 8A in under 45 minutes. —\u003cem>Emma Silvers\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Sunday, May 31\u003c/h2>\n\u003cp>I went back into BottleRock on Sunday with an open mind. Echosmith, the band you know from “\u003ca href=\"https://www.youtube.com/watch?v=SSCzDykng4g\" target=\"_blank\" rel=\"noopener\">Cool Kids\u003c/a>,” helped freshen the outlook with a peppy set. Silverado Pickups segued from the Rolling Stones into the Grateful Dead. Los Amigos Invisibles had a full-fledged Latin ska dance party going on. Things were looking up.\u003c/p>\n\u003cp>But the collective attention was over on the Culinary Stage, where Snoop Dogg and chef Masaharu Morimoto joined forces for a sushi-making demo. It took Snoop less than 30 seconds to make the expected “roll one up” joke, and the short segment was more social spectacle than master class, anyway — kind of in the same way Vernon Davis’ earlier spot on the culinary stage was essentially an ongoing advertisement for his sponsor, a particular brand of beef jerky.\u003c/p>\n\u003cp>Put all this stuff together — the excitement of Snoop (“He’s dope!” announced stage host \u003ca href=\"https://twitter.com/liammayclem\" target=\"_blank\" rel=\"noopener\">Liam Mayclem\u003c/a>, awkwardly) in “the hood” of Napa (Mayclem, again); the showering of the crowd with free company swag while said company’s social media team takes photos to prove people’s excitement over a package of beef jerky; the \u003ca href=\"https://twitter.com/100PercentCork/status/604829664801005569\" target=\"_blank\" rel=\"noopener\">take-a-picture-of-this-and-Instagram-it-and-win-free-stuff\u003c/a> marketing apparatus in effect, widely, throughout the entire festival; the ho-hum lineup of predictable festival bands — and BottleRock’s identity starts to feel like one big opportunity to leverage one’s brand, both corporate and personal.\u003c/p>\n\u003cp>I’ve grown up in wine country, and I know Napa’s wine industry is especially thirsty for this leverage, hoping to mitigate its reputation for being old and staid. Apparently the insurance industry is, too: I walked by the Geico booth and noticed the staffers \u003ca href=\"https://instagram.com/p/3XYIocySYZ/\" target=\"_blank\" rel=\"noopener\">laying on their backs, having given up, making jokes on the mic about how nobody wanted to interact with their brand\u003c/a>. \u003c/p>\n\u003cp>As various executives funneled into the Platinum reserved area (six feet deep of guaranteed front-row viewing, \u003ca href=\"http://www.eventbrite.com/e/bottlerock-2015-platinum-tickets-with-vip-artist-lounge-access-may-30th-tickets-16886674498\" target=\"_blank\" rel=\"noopener\">tickets $3,500/pair\u003c/a>), Snoop Dogg took the stage to play songs that the general-admission crowd behind them knew much better, which is to say, at all: “P.I.M.P.,” “The Next Episode,” “Nuthin’ but a ‘G’ Thang,” “Drop it Like it’s Hot,” “Gin & Juice,” just a nonstop hit parade, peppered with snippets of songs by House of Pain, Notorious B.I.G., and Tupac. He had the crowd in the palm of his hand from the start, but by the time he closed with “\u003ca href=\"https://www.youtube.com/watch?v=Wa5B22KAkEk\" target=\"_blank\" rel=\"noopener\">Young, Wild & Free\u003c/a>,” he also achieved the festival brass ring of uniting 30,000 people in a singalong of love and positivity.\u003c/p>\n\u003cp>No Doubt followed with a similarly hit-ridden set, made off-kilter only for Gwen Stefani’s overeager testimonials about how she CAN’T BELIEVE you’re all here IN PERSON singing THESE SONGS with her, wow, it’s SO REAL. “I’m just trying to find people I connect with so I can think of their faces when I go to sleep at night,” she said in one of \u003ca href=\"https://youtu.be/nbEGgAPdoww?t=23m20s\" target=\"_blank\" rel=\"noopener\">many exhortations\u003c/a>. “Do you understand that? I’m going to \u003cem>think\u003c/em> of you tonight!”\u003c/p>\n\u003cp>Even for someone who never much cared much for No Doubt, I gotta say, they kept Snoop’s unifying ethos alive across the huge field. But the real spirit was outside the festival grounds: walking back to my car, I stopped into Nation’s Hamburgers, where the packed restaurant was interrupted by a man’s voice.\u003c/p>\n\u003cp>“Excuse me,” he announced, “but it’s this girl’s birthday, and she’s had a really terrible day. Can we all sing her ‘Happy Birthday?’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://instagram.com/p/3X6d-eSSRo/\" target=\"_blank\" rel=\"noopener\">Everyone in the place obliged while a huge smile spread across her face\u003c/a>. It was, you might say, a one-of-a-kind music experience. — \u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10720232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2441.jpg\" alt=\"The parking lot at BottleRock 2015. (Photo: Gabe Meline)\" width=\"800\" height=\"512\" class=\"size-full wp-image-10720232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2441-400x256.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The parking lot at BottleRock 2015. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Colin Hanks on His New Documentary About Tower Records",
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"content": "\u003cp>If you're looking to buy music these days, you can do it instantly online. But before you could download or stream music, there were record stores. And in California none was bigger than \u003ca href=\"http://towerrecordsproject.org/\" target=\"_blank\">Tower Records\u003c/a>. The chain, known for its big red-and-yellow logo, was born in Sacramento in 1960 -- and it peaked in 1999 with sales of $1 billion. But just five years later, Tower declared bankruptcy.\u003c/p>\n\u003cp>The rise and fall of Tower Records is the subject of the new documentary \"\u003ca href=\"http://www.towerrecordsmovie.com/\" target=\"_blank\">All Things Must Pass\u003c/a>.\" The California Report's Scott Shafer talked with the film's director, Colin Hanks.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/207899709\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003cem>This interview was edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>What was it about this story that said to you, and to producer Sean Stuart, \"You know, we gotta make a documentary about Tower Records?\"\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Colin Hanks: \u003c/strong>When I found out how Russ Solomon started selling records, that was as close to a lightbulb moment as I’ve ever had from a creative standpoint. In 2006, an old family friend of mine was visiting me in New York and we were talking about what a bummer it was that Tower was closing. And she said, sort of in passing, 'It’s hard to believe that this all started with Russ Solomon selling used 78s out of his father’s drugstore in the 1940s.’ And I said, ‘Excuse me?’ I didn’t know about the way that it all started. And then the fact that no one else had tackled the subject was kind of a shocker to me.\u003c/p>\n\u003cfigure id=\"attachment_10547167\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10547167\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RussSolomon-800x532.jpg\" alt=\"Tower Records founder Russ Solomon at the 1968 opening of Tower's San Francisco store.\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower Records founder Russ Solomon at the 1968 opening of Tower's San Francisco store. \u003ccite>(Courtesy Company Name)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You grew up in Sacramento, right? And that's where Tower Records started. What are your own memories of those stores?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>Tower was always a point of civic pride for Sacramento. The fact a company as big and as renowned as Tower was not only started in Sacramento, but had been based there. Growing up, I bought my concert tickets there, I bought my first CDs, my cassette singles. I spent a lot of time in Tower, getting my musical history lessons.\u003c/p>\n\u003cp>\u003cstrong>The heart and soul, not just of Tower Records, but of this documentary is founder Russ Solomon. He created the store out of the back of his dad's drugstore in the \u003ca href=\"http://www.sacbee.com/news/local/history/article2582306.html\" target=\"_blank\">Tower Theatre\u003c/a>\u003c/strong>\u003cstrong> building in downtown Sacramento and ran with it.\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks\u003c/strong>: Russ is such an amazing character. When you meet him, he's incredibly full of life. He's sharp-witted, quick-witted. And he's one of these guys who's constantly talking, constantly asking questions. He's a very curious individual, he's a very funny individual. And when we met Russ we just, you know, as soon as we met Russ, we knew we had something here. We had a lead character that was going to be engaging, that was going to be able to tell his story. And we just wanted to sort of get out of the way and capture that as best we could.\u003c/p>\n\u003cp>\u003cstrong>Shopping at Tower Records was an experience, but working there was a real experience, too. Virtually everyone it seems, at least according to the film, started there as a clerk and worked their way up, staying for, in some cases, 20 or 30 years. What was it that kept them there?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>I think just the overall vibe of the place. You know, when we were starting out the whole process, we were really interested in the fact that here is a company that could pretty much hire anyone it wanted. Insomuch as, at that time, especially in San Francisco, specifically in Sacramento, by that time the, you know, mid-'60s, late '60s, if you wanted a job in any sort of store, any place in which something needed to be sold, you needed a nice haircut. You needed to be in a suit. As \"Mad Men\" as it gets, that's what it was like.\u003c/p>\n\u003cfigure id=\"attachment_10547172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10547172\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/SolomonStockton-800x580.jpg\" alt=\"Russ Solomon (third from right) with employees at Tower Records' Stockton store in the 1970s.\" width=\"800\" height=\"580\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-800x580.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-400x290.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-1440x1045.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-1180x856.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-960x697.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Russ Solomon (third from right) with employees at Tower Records' Stockton store in the 1970s. \u003ccite>(Courtesy 'All Things Must Pass' / Company Name)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And for Tower, none of that mattered. You could dress however you wanted. Your hair could be long. It really was the tip of the spear of the sort of counterculture vibe. So people who got jobs early on, in the company, in that period, you know the mid-'60s, late '60s, but even later on, as the company grew bigger, if you got that entry-level job you could stay there and work your way up. And that is incredibly special. I mean, especially if you look at companies nowadays, they don't have that kind of job security, the majority of the time.\u003c/p>\n\u003cp>\u003cstrong>And that loyalty ran both ways.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>And it ran both ways. It was not only respected by the company, it was encouraged. And so that is very special territory. And so, when our story ostensibly is about the beginning and middle and end of a company, what is that like for those people who worked there for 30 years? Twenty years? To have that kind of connection to the company and have that be severed? What is that heartbreak like for, you know, for people?\u003c/p>\n\u003cp>That part of the story I don't think started me off on this journey, but as we dug deeper we found these elements of this lineage of Tower that we just thought was incredibly special and unique. And was another reason why this film needed to be made. ’Cause we wanted people to realize that is part of Tower's legacy. It's not just where you bought that one CD a long time ago.\u003c/p>\n\u003cp>\u003cstrong>They had a good run. They peaked in 1999 taking in $1 billion and then in 2005 they filed for bankruptcy. What was that management style? Was the laid-back management style part of their downfall, or was it really bigger issues within the music industry?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>It was most definitely bigger issues, not only within the music industry but within the company themselves. I don't think that alcohol or drugs brought the company down, but there were definitely decisions made by Russ and by the powers that be at Tower that helped lead to its downfall. One of the things that we really wanted to explore in the film was the concept that \u003ca href=\"http://www.thedailybeast.com/articles/2014/06/06/15-years-after-napster-how-the-music-service-changed-the-industry.html\" target=\"_blank\">Napster \u003c/a>destroyed Tower. That's not 100 percent accurate. Napster was a part of it for sure. And you know, it definitely took a large bite out of the industry and Tower's receipts as well, but Russ and some of the people at Tower expanded into countries far and wide and over-expanded and made decisions that were not necessarily prudent.\u003c/p>\n\u003cp>That were really sort of based on hubris more than anything else, thinking that the party wasn't ever going to end. And you gotta remember, at that time, in the late '90s, you wouldn't necessarily think that any of this stuff was going to go away anytime soon. But technology is, you know, it changes. It evolves very quickly, and Tower was never really able to adjust.\u003c/p>\n\u003cp>\u003cstrong>Shafer: Nowadays people buying music aren't looking through bins of records or CDs. They're shopping online on places like iTunes. What is the loss to our culture?\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks:\u003c/strong> There's so much conversation there about that, the personal connection is lost. There's the literal connotation of the personal connection of you buying music off of someone specifically, and then maybe a friendship being made from the clerk. And there is that, I don't deny that at all. But when I talk about the personal connection to music, I talk about the memories I have buying records.\u003c/p>\n\u003cp>I'm a little bit weird in that I remember where I was when I bought a specific album that means a great deal to me. I remember the city, I remember the store. There's an imprint on that music. And so, that personal connection to music I think is important because, look, I stream music, I buy music online. I don't remember where I was when I streamed a certain record or when I downloaded a certain record. But I remember where I was when I bought that CD that changed my life. So that personal connection definitely is hurting with this new era.\u003c/p>\n\u003cp>But the flip side of that is, I will never want for another record for as long as I live. I'll never be told, 'We just can't find that record anymore, you're never gonna be able to hear that one pressing from that one thing,' because it's all being digitized now and you can find it anywhere. So it's not necessarily bad. It's just different.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"All Things Must Pass\" screens at \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\">San Francisco's DocFest\u003c/a> on June 4.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you're looking to buy music these days, you can do it instantly online. But before you could download or stream music, there were record stores. And in California none was bigger than \u003ca href=\"http://towerrecordsproject.org/\" target=\"_blank\">Tower Records\u003c/a>. The chain, known for its big red-and-yellow logo, was born in Sacramento in 1960 -- and it peaked in 1999 with sales of $1 billion. But just five years later, Tower declared bankruptcy.\u003c/p>\n\u003cp>The rise and fall of Tower Records is the subject of the new documentary \"\u003ca href=\"http://www.towerrecordsmovie.com/\" target=\"_blank\">All Things Must Pass\u003c/a>.\" The California Report's Scott Shafer talked with the film's director, Colin Hanks.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/207899709&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/207899709'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview was edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>What was it about this story that said to you, and to producer Sean Stuart, \"You know, we gotta make a documentary about Tower Records?\"\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Colin Hanks: \u003c/strong>When I found out how Russ Solomon started selling records, that was as close to a lightbulb moment as I’ve ever had from a creative standpoint. In 2006, an old family friend of mine was visiting me in New York and we were talking about what a bummer it was that Tower was closing. And she said, sort of in passing, 'It’s hard to believe that this all started with Russ Solomon selling used 78s out of his father’s drugstore in the 1940s.’ And I said, ‘Excuse me?’ I didn’t know about the way that it all started. And then the fact that no one else had tackled the subject was kind of a shocker to me.\u003c/p>\n\u003cfigure id=\"attachment_10547167\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10547167\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RussSolomon-800x532.jpg\" alt=\"Tower Records founder Russ Solomon at the 1968 opening of Tower's San Francisco store.\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower Records founder Russ Solomon at the 1968 opening of Tower's San Francisco store. \u003ccite>(Courtesy Company Name)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You grew up in Sacramento, right? And that's where Tower Records started. What are your own memories of those stores?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>Tower was always a point of civic pride for Sacramento. The fact a company as big and as renowned as Tower was not only started in Sacramento, but had been based there. Growing up, I bought my concert tickets there, I bought my first CDs, my cassette singles. I spent a lot of time in Tower, getting my musical history lessons.\u003c/p>\n\u003cp>\u003cstrong>The heart and soul, not just of Tower Records, but of this documentary is founder Russ Solomon. He created the store out of the back of his dad's drugstore in the \u003ca href=\"http://www.sacbee.com/news/local/history/article2582306.html\" target=\"_blank\">Tower Theatre\u003c/a>\u003c/strong>\u003cstrong> building in downtown Sacramento and ran with it.\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks\u003c/strong>: Russ is such an amazing character. When you meet him, he's incredibly full of life. He's sharp-witted, quick-witted. And he's one of these guys who's constantly talking, constantly asking questions. He's a very curious individual, he's a very funny individual. And when we met Russ we just, you know, as soon as we met Russ, we knew we had something here. We had a lead character that was going to be engaging, that was going to be able to tell his story. And we just wanted to sort of get out of the way and capture that as best we could.\u003c/p>\n\u003cp>\u003cstrong>Shopping at Tower Records was an experience, but working there was a real experience, too. Virtually everyone it seems, at least according to the film, started there as a clerk and worked their way up, staying for, in some cases, 20 or 30 years. What was it that kept them there?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>I think just the overall vibe of the place. You know, when we were starting out the whole process, we were really interested in the fact that here is a company that could pretty much hire anyone it wanted. Insomuch as, at that time, especially in San Francisco, specifically in Sacramento, by that time the, you know, mid-'60s, late '60s, if you wanted a job in any sort of store, any place in which something needed to be sold, you needed a nice haircut. You needed to be in a suit. As \"Mad Men\" as it gets, that's what it was like.\u003c/p>\n\u003cfigure id=\"attachment_10547172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10547172\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/SolomonStockton-800x580.jpg\" alt=\"Russ Solomon (third from right) with employees at Tower Records' Stockton store in the 1970s.\" width=\"800\" height=\"580\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-800x580.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-400x290.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-1440x1045.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-1180x856.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-960x697.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Russ Solomon (third from right) with employees at Tower Records' Stockton store in the 1970s. \u003ccite>(Courtesy 'All Things Must Pass' / Company Name)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And for Tower, none of that mattered. You could dress however you wanted. Your hair could be long. It really was the tip of the spear of the sort of counterculture vibe. So people who got jobs early on, in the company, in that period, you know the mid-'60s, late '60s, but even later on, as the company grew bigger, if you got that entry-level job you could stay there and work your way up. And that is incredibly special. I mean, especially if you look at companies nowadays, they don't have that kind of job security, the majority of the time.\u003c/p>\n\u003cp>\u003cstrong>And that loyalty ran both ways.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>And it ran both ways. It was not only respected by the company, it was encouraged. And so that is very special territory. And so, when our story ostensibly is about the beginning and middle and end of a company, what is that like for those people who worked there for 30 years? Twenty years? To have that kind of connection to the company and have that be severed? What is that heartbreak like for, you know, for people?\u003c/p>\n\u003cp>That part of the story I don't think started me off on this journey, but as we dug deeper we found these elements of this lineage of Tower that we just thought was incredibly special and unique. And was another reason why this film needed to be made. ’Cause we wanted people to realize that is part of Tower's legacy. It's not just where you bought that one CD a long time ago.\u003c/p>\n\u003cp>\u003cstrong>They had a good run. They peaked in 1999 taking in $1 billion and then in 2005 they filed for bankruptcy. What was that management style? Was the laid-back management style part of their downfall, or was it really bigger issues within the music industry?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>It was most definitely bigger issues, not only within the music industry but within the company themselves. I don't think that alcohol or drugs brought the company down, but there were definitely decisions made by Russ and by the powers that be at Tower that helped lead to its downfall. One of the things that we really wanted to explore in the film was the concept that \u003ca href=\"http://www.thedailybeast.com/articles/2014/06/06/15-years-after-napster-how-the-music-service-changed-the-industry.html\" target=\"_blank\">Napster \u003c/a>destroyed Tower. That's not 100 percent accurate. Napster was a part of it for sure. And you know, it definitely took a large bite out of the industry and Tower's receipts as well, but Russ and some of the people at Tower expanded into countries far and wide and over-expanded and made decisions that were not necessarily prudent.\u003c/p>\n\u003cp>That were really sort of based on hubris more than anything else, thinking that the party wasn't ever going to end. And you gotta remember, at that time, in the late '90s, you wouldn't necessarily think that any of this stuff was going to go away anytime soon. But technology is, you know, it changes. It evolves very quickly, and Tower was never really able to adjust.\u003c/p>\n\u003cp>\u003cstrong>Shafer: Nowadays people buying music aren't looking through bins of records or CDs. They're shopping online on places like iTunes. What is the loss to our culture?\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks:\u003c/strong> There's so much conversation there about that, the personal connection is lost. There's the literal connotation of the personal connection of you buying music off of someone specifically, and then maybe a friendship being made from the clerk. And there is that, I don't deny that at all. But when I talk about the personal connection to music, I talk about the memories I have buying records.\u003c/p>\n\u003cp>I'm a little bit weird in that I remember where I was when I bought a specific album that means a great deal to me. I remember the city, I remember the store. There's an imprint on that music. And so, that personal connection to music I think is important because, look, I stream music, I buy music online. I don't remember where I was when I streamed a certain record or when I downloaded a certain record. But I remember where I was when I bought that CD that changed my life. So that personal connection definitely is hurting with this new era.\u003c/p>\n\u003cp>But the flip side of that is, I will never want for another record for as long as I live. I'll never be told, 'We just can't find that record anymore, you're never gonna be able to hear that one pressing from that one thing,' because it's all being digitized now and you can find it anywhere. So it's not necessarily bad. It's just different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"All Things Must Pass\" screens at \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\">San Francisco's DocFest\u003c/a> on June 4.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "summer-events-in-san-jose-you-might-not-know-about-but-should",
"title": "Summer Events in San Jose You Might Not Know About (But Should)",
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"headTitle": "Summer Events in San Jose You Might Not Know About (But Should) | KQED",
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"content": "\u003cp>San Jose has been all a buzz over the news from last week that the city’s population hit the one million mark. According to the \u003ca href=\"http://www.prnewswire.com/news-releases/ten-us-cities-now-have-1-million-people-or-more-california-and-texas-each-have-three-of-these-places-300087265.html\" target=\"_blank\" rel=\"noopener\">U.S. Census Bureau,\u003c/a> this means that the South Bay city is one of ten in this nation to have a population that size or more. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Like any city with a large population, San Jose has a wide variety of goings-on to keep the majority of our residents busy this summer. We have familiar events that you can count on that most metropolitan clusters have such as: \u003ca href=\"http://sjdowntown.com/musicinthepark/\" target=\"_blank\" rel=\"noopener\">Music in the Park\u003c/a>, Fourth of July Fireworks, free outdoor \u003ca href=\"http://www.symphonysiliconvalley.org/concerts.php?pagecontID=183\" target=\"_blank\" rel=\"noopener\">Symphony\u003c/a> concerts and a fantastic \u003ca href=\"http://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">Summer Jazz Fest.\u003c/a> And in addition to these well produced, well-marketed blockbusters, we also have things to do that are smaller, niche-ier, and a little harder to find but uniquely our own. Whether you’re a legacy resident that has lived in the area since it was dense with orchards or you’re (fairly) new to the area and want to experience a diverse range of events, a memorable summer awaits you in San Jose.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10705944\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SkateNight.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10705944\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SkateNight.jpg\" alt=\"Kyle Yandow and Amy Anderson at #SJSkateNight no. 2.\" width=\"469\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight.jpg 469w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight-400x614.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight-391x600.jpg 391w\" sizes=\"(max-width: 469px) 100vw, 469px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kyle Yandow and Amy Anderson at #SJSkateNight no. 2. \u003ccite>(PHoto by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Jose Skate Night\u003c/h3>\n\u003ch5>Monthly event – ongoing \u003cbr>\n\u003ca href=\"https://www.facebook.com/groups/1507830799471347/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>San Jose’s hot summer days almost always slip into cool comfortable nights which makes for perfect roller skating weather. The South Bay is now devoid of indoor skating rinks so in the typical Silicon Valley problem-solving style, three residents — Justin Triano, Amy Hewett and Liz Ruiz (both former \u003ca href=\"http://svrollergirls.com/\">SV Roller Derby Girls\u003c/a>) — got together to make one big roving roller rink that travels through our downtown. Accompanied by a mobile disco sound unit and laser light show, the event moves throughout the evening to open plazas that are begging for people to use them. The organizers plan for the event to continue monthly. Skate rentals are available prior to the event and the start point location varies (announced 24 hours beforehand).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703412\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg\" alt='Peter Mollica, \"Fence,\" stained glass, 2013. ' width=\"492\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica-400x585.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica-410x600.jpg 410w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peter Mollica, “Fence,” stained glass, 2013. \u003ccite>(Courtesy of the \"Sparks\" Exhibition at San Jose City College.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>44th Annual Glass Arts Conference\u003c/h3>\n\u003ch5>June 5–7\u003cbr>\n\u003ca href=\"http://www.glassart.org/_San_Jose.html\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>Seattle-based \u003ca href=\"http://www.glassart.org/\" target=\"_blank\" rel=\"noopener\">Glass Art Society\u003c/a> is hosting this year’s glass arts conference in downtown San Jose with the theme:\u003cem> Interface: Glass, Art, and Technology\u003c/em>. The host city was chosen because Silicon Valley is “where technology is king and new technological ideas are generated daily,” Roger MacPherson, GAS President said. The three day conference will engage glass artists and collectors in panel discussions, hands-on workshops, demos, a mobile hot shop, plus many free & open to the public events like the glass marketplace. In addition to the official GAS programming, \u003ca href=\"http://www.glassart.org/2015_Exhibitions_Gallery_Hop_.html\" target=\"_blank\" rel=\"noopener\">14 local galleries\u003c/a> are hosting concurrent glass exhibitions throughout the city center featuring themed shows as well as broad group displays of this fascinating material. A “Gallery Hop” is scheduled for Friday night June 5 with shuttle service departing every 30 minutes at key locations.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703409\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703409\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg\" alt=\"Cellist Freya Seeburger at SubZERO Festival 2014.\" width=\"465\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg 465w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO-400x619.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO-388x600.jpg 388w\" sizes=\"(max-width: 465px) 100vw, 465px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cellist Freya Seeburger at SubZERO Festival 2014. \u003ccite>(Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>SubZERO Festival\u003c/h3>\n\u003ch5>June 5 & 6\u003cbr>\n\u003ca href=\"http://subzerofestival.com/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>The SubZERO Festival, held annually on the \u003ca href=\"http://www.southfirstfridays.com/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a> & Saturday of June, is the art scene’s kick-off party to the summer season in the South Bay. Now in its 8th year, this subculture gathering of those that dwell in the underground will once again take over the arts & culture district of San Jose known as the \u003ca href=\"https://www.facebook.com/pages/SoFA-District/70353431135?ref=hl\" target=\"_blank\" rel=\"noopener\">SoFA District\u003c/a>. This seemingly small area (just 3 blocks) will be packed with over a hundred visual artists, performers and independent creative businesses. The 3 stages of live music feature 24 bands in the indie, alternative and experimental genres. “All Hail the Progenitors of Culture” is their battle cry with the intention to show San Jose artists do live and thrive here all year round.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10705940\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10705940\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg\" alt=\"Alchemy Garden at Rosicrucian Park.\" width=\"640\" height=\"421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/AlchemyGarden-400x263.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alchemy Garden at Rosicrucian Park. \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Alchemy Museum and Lab Exhibit at Rosicrucian Park\u003c/h3>\n\u003ch5>June 21\u003cbr>\n\u003ca href=\"http://www.rosicrucianpark.org/alchemy-museum\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">San Jose will soon be home to the world’s largest, and the nation’s only, Alchemy Museum and Lab. Curated and designed by practicing alchemist and author \u003ca href=\"http://dwhauck.com/\">Dennis William Hauck\u003c/a>, the museum will be located at Rosicrucian Park, the same grounds that houses the world famous \u003ca href=\"http://www.egyptianmuseum.org/\" target=\"_blank\" rel=\"noopener\">Rosicrucian Egyptian Museum\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_10717729\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/alchemy2.jpg\" alt=\"(Courtesy of Rosicrucian Park)\" width=\"382\" height=\"321\" class=\"size-thumbnail wp-image-10717729\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Rosicrucian Park)\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">In anticipation of the Alchemy Museum’s opening — slated for June 2016 — the Egyptian Museum will be presenting an exhibition that features highlights from the Alchemy Museum’s collection. While you’re there, be sure to check out the grounds, which feature numerous sculptures of ancient Egyptian gods, a Pythagoras statue, a Senet game, and the new Alchemy Garden, which is beautifully arranged to symbolize the four elements of Earth, Air, Fire and Water.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703414\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg\" alt=\"Artist Avery Palmer at The Triton Museum of Art .\" width=\"640\" height=\"435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Triton_Palmer-400x272.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Avery Palmer at The Triton Museum of Art . \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>50 and Looking Forward…\u003c/i> at The Triton Museum of Art\u003c/h3>\n\u003ch5>Through July 12 \u003cbr>\n\u003ca href=\"http://www.tritonmuseum.org/exhibitions_50_andForward.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">For 50 years The Triton has dedicated its beautiful exhibition spaces to contemporary artists from the greater Bay Area. This summer they celebrate their 50th anniversary with \u003ci>50 and Looking Forward…\u003c/i>, which opened May 16th. The exhibition focuses on the future rather than the past, with 19 local artists that the curators have deemed “the ones to watch.” The group exhibit is as diverse as the area The Triton aims to serve. A great day to visit the museum and check out the show would be on June 20th during their \u003ca href=\"http://www.tritonmuseum.org/SpecialEvents.php\" target=\"_blank\" rel=\"noopener\">Summer Solstice Art Festival\u003c/a> that’s held on their back lawn, among their outdoor sculpture collection.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703413\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703413\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg\" alt=\"Think and Die Thinking Festival\" width=\"582\" height=\"477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TDT_Festival-400x328.jpg 400w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Think and Die Thinking Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>Think and Die Thinking\u003c/h3>\n\u003ch5>July 9–12 \u003cbr>\n\u003ca href=\"http://thinkanddiethinking.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>Since 2011 the Think and Die Thinking collective has held an annual DIY punk & indie music festival that’s by and for LGBT, women, and people of color. Each year the list of bands gets longer and the event spills over into another day. This year the event is 4 days and will be hosted by 3 venues to accommodate all the participants. The main venue, and beneficiary of the proceeds, is the \u003ca href=\"http://www.defrankcenter.org/\" target=\"_blank\" rel=\"noopener\">Billy De Frank LGBT Community Center;\u003c/a> a well respected and important resource for the LGBT community since 1981.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703410\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703410\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg\" alt=\"Luna Park Chalk Art Festival\" width=\"539\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg 539w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk-449x600.jpg 449w\" sizes=\"(max-width: 539px) 100vw, 539px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Luna Park Chalk Art Festival \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>8th Annual Luna Park Chalk Art Festival\u003c/h3>\n\u003ch5>September 19\u003cbr>\n\u003ca href=\"http://lunaparkchalkart.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The Luna Park Chalk Art Festival is a favorite community event that features local artists putting their talents towards raising awareness and grant funds for art programs in local schools. The artists’ canvas is a 4 foot by 4 foot section of concrete sidewalk that winds through the center area of the 10-acre Backesto Park. The mini murals begin on the Friday morning before. The artists then work through the day, finishing their ephemeral drawings by the start of the main event on Saturday, which is must-go as it features live music, vendor booths and food trucks.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "San Jose now has over one million people in it and the entertainment being produced here is both unique and comparable to larger cities. ",
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"title": "Summer Events in San Jose You Might Not Know About (But Should) | KQED",
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"headline": "Summer Events in San Jose You Might Not Know About (But Should)",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Jose has been all a buzz over the news from last week that the city’s population hit the one million mark. According to the \u003ca href=\"http://www.prnewswire.com/news-releases/ten-us-cities-now-have-1-million-people-or-more-california-and-texas-each-have-three-of-these-places-300087265.html\" target=\"_blank\" rel=\"noopener\">U.S. Census Bureau,\u003c/a> this means that the South Bay city is one of ten in this nation to have a population that size or more. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Like any city with a large population, San Jose has a wide variety of goings-on to keep the majority of our residents busy this summer. We have familiar events that you can count on that most metropolitan clusters have such as: \u003ca href=\"http://sjdowntown.com/musicinthepark/\" target=\"_blank\" rel=\"noopener\">Music in the Park\u003c/a>, Fourth of July Fireworks, free outdoor \u003ca href=\"http://www.symphonysiliconvalley.org/concerts.php?pagecontID=183\" target=\"_blank\" rel=\"noopener\">Symphony\u003c/a> concerts and a fantastic \u003ca href=\"http://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">Summer Jazz Fest.\u003c/a> And in addition to these well produced, well-marketed blockbusters, we also have things to do that are smaller, niche-ier, and a little harder to find but uniquely our own. Whether you’re a legacy resident that has lived in the area since it was dense with orchards or you’re (fairly) new to the area and want to experience a diverse range of events, a memorable summer awaits you in San Jose.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10705944\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SkateNight.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10705944\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SkateNight.jpg\" alt=\"Kyle Yandow and Amy Anderson at #SJSkateNight no. 2.\" width=\"469\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight.jpg 469w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight-400x614.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight-391x600.jpg 391w\" sizes=\"(max-width: 469px) 100vw, 469px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kyle Yandow and Amy Anderson at #SJSkateNight no. 2. \u003ccite>(PHoto by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Jose Skate Night\u003c/h3>\n\u003ch5>Monthly event – ongoing \u003cbr>\n\u003ca href=\"https://www.facebook.com/groups/1507830799471347/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>San Jose’s hot summer days almost always slip into cool comfortable nights which makes for perfect roller skating weather. The South Bay is now devoid of indoor skating rinks so in the typical Silicon Valley problem-solving style, three residents — Justin Triano, Amy Hewett and Liz Ruiz (both former \u003ca href=\"http://svrollergirls.com/\">SV Roller Derby Girls\u003c/a>) — got together to make one big roving roller rink that travels through our downtown. Accompanied by a mobile disco sound unit and laser light show, the event moves throughout the evening to open plazas that are begging for people to use them. The organizers plan for the event to continue monthly. Skate rentals are available prior to the event and the start point location varies (announced 24 hours beforehand).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703412\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg\" alt='Peter Mollica, \"Fence,\" stained glass, 2013. ' width=\"492\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica-400x585.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica-410x600.jpg 410w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peter Mollica, “Fence,” stained glass, 2013. \u003ccite>(Courtesy of the \"Sparks\" Exhibition at San Jose City College.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>44th Annual Glass Arts Conference\u003c/h3>\n\u003ch5>June 5–7\u003cbr>\n\u003ca href=\"http://www.glassart.org/_San_Jose.html\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>Seattle-based \u003ca href=\"http://www.glassart.org/\" target=\"_blank\" rel=\"noopener\">Glass Art Society\u003c/a> is hosting this year’s glass arts conference in downtown San Jose with the theme:\u003cem> Interface: Glass, Art, and Technology\u003c/em>. The host city was chosen because Silicon Valley is “where technology is king and new technological ideas are generated daily,” Roger MacPherson, GAS President said. The three day conference will engage glass artists and collectors in panel discussions, hands-on workshops, demos, a mobile hot shop, plus many free & open to the public events like the glass marketplace. In addition to the official GAS programming, \u003ca href=\"http://www.glassart.org/2015_Exhibitions_Gallery_Hop_.html\" target=\"_blank\" rel=\"noopener\">14 local galleries\u003c/a> are hosting concurrent glass exhibitions throughout the city center featuring themed shows as well as broad group displays of this fascinating material. A “Gallery Hop” is scheduled for Friday night June 5 with shuttle service departing every 30 minutes at key locations.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703409\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703409\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg\" alt=\"Cellist Freya Seeburger at SubZERO Festival 2014.\" width=\"465\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg 465w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO-400x619.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO-388x600.jpg 388w\" sizes=\"(max-width: 465px) 100vw, 465px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cellist Freya Seeburger at SubZERO Festival 2014. \u003ccite>(Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>SubZERO Festival\u003c/h3>\n\u003ch5>June 5 & 6\u003cbr>\n\u003ca href=\"http://subzerofestival.com/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>The SubZERO Festival, held annually on the \u003ca href=\"http://www.southfirstfridays.com/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a> & Saturday of June, is the art scene’s kick-off party to the summer season in the South Bay. Now in its 8th year, this subculture gathering of those that dwell in the underground will once again take over the arts & culture district of San Jose known as the \u003ca href=\"https://www.facebook.com/pages/SoFA-District/70353431135?ref=hl\" target=\"_blank\" rel=\"noopener\">SoFA District\u003c/a>. This seemingly small area (just 3 blocks) will be packed with over a hundred visual artists, performers and independent creative businesses. The 3 stages of live music feature 24 bands in the indie, alternative and experimental genres. “All Hail the Progenitors of Culture” is their battle cry with the intention to show San Jose artists do live and thrive here all year round.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10705940\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10705940\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg\" alt=\"Alchemy Garden at Rosicrucian Park.\" width=\"640\" height=\"421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/AlchemyGarden-400x263.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alchemy Garden at Rosicrucian Park. \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Alchemy Museum and Lab Exhibit at Rosicrucian Park\u003c/h3>\n\u003ch5>June 21\u003cbr>\n\u003ca href=\"http://www.rosicrucianpark.org/alchemy-museum\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">San Jose will soon be home to the world’s largest, and the nation’s only, Alchemy Museum and Lab. Curated and designed by practicing alchemist and author \u003ca href=\"http://dwhauck.com/\">Dennis William Hauck\u003c/a>, the museum will be located at Rosicrucian Park, the same grounds that houses the world famous \u003ca href=\"http://www.egyptianmuseum.org/\" target=\"_blank\" rel=\"noopener\">Rosicrucian Egyptian Museum\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_10717729\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/alchemy2.jpg\" alt=\"(Courtesy of Rosicrucian Park)\" width=\"382\" height=\"321\" class=\"size-thumbnail wp-image-10717729\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Rosicrucian Park)\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">In anticipation of the Alchemy Museum’s opening — slated for June 2016 — the Egyptian Museum will be presenting an exhibition that features highlights from the Alchemy Museum’s collection. While you’re there, be sure to check out the grounds, which feature numerous sculptures of ancient Egyptian gods, a Pythagoras statue, a Senet game, and the new Alchemy Garden, which is beautifully arranged to symbolize the four elements of Earth, Air, Fire and Water.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703414\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg\" alt=\"Artist Avery Palmer at The Triton Museum of Art .\" width=\"640\" height=\"435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Triton_Palmer-400x272.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Avery Palmer at The Triton Museum of Art . \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>50 and Looking Forward…\u003c/i> at The Triton Museum of Art\u003c/h3>\n\u003ch5>Through July 12 \u003cbr>\n\u003ca href=\"http://www.tritonmuseum.org/exhibitions_50_andForward.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">For 50 years The Triton has dedicated its beautiful exhibition spaces to contemporary artists from the greater Bay Area. This summer they celebrate their 50th anniversary with \u003ci>50 and Looking Forward…\u003c/i>, which opened May 16th. The exhibition focuses on the future rather than the past, with 19 local artists that the curators have deemed “the ones to watch.” The group exhibit is as diverse as the area The Triton aims to serve. A great day to visit the museum and check out the show would be on June 20th during their \u003ca href=\"http://www.tritonmuseum.org/SpecialEvents.php\" target=\"_blank\" rel=\"noopener\">Summer Solstice Art Festival\u003c/a> that’s held on their back lawn, among their outdoor sculpture collection.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703413\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703413\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg\" alt=\"Think and Die Thinking Festival\" width=\"582\" height=\"477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TDT_Festival-400x328.jpg 400w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Think and Die Thinking Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>Think and Die Thinking\u003c/h3>\n\u003ch5>July 9–12 \u003cbr>\n\u003ca href=\"http://thinkanddiethinking.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>Since 2011 the Think and Die Thinking collective has held an annual DIY punk & indie music festival that’s by and for LGBT, women, and people of color. Each year the list of bands gets longer and the event spills over into another day. This year the event is 4 days and will be hosted by 3 venues to accommodate all the participants. The main venue, and beneficiary of the proceeds, is the \u003ca href=\"http://www.defrankcenter.org/\" target=\"_blank\" rel=\"noopener\">Billy De Frank LGBT Community Center;\u003c/a> a well respected and important resource for the LGBT community since 1981.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703410\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703410\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg\" alt=\"Luna Park Chalk Art Festival\" width=\"539\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg 539w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk-449x600.jpg 449w\" sizes=\"(max-width: 539px) 100vw, 539px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Luna Park Chalk Art Festival \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>8th Annual Luna Park Chalk Art Festival\u003c/h3>\n\u003ch5>September 19\u003cbr>\n\u003ca href=\"http://lunaparkchalkart.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The Luna Park Chalk Art Festival is a favorite community event that features local artists putting their talents towards raising awareness and grant funds for art programs in local schools. The artists’ canvas is a 4 foot by 4 foot section of concrete sidewalk that winds through the center area of the 10-acre Backesto Park. The mini murals begin on the Friday morning before. The artists then work through the day, finishing their ephemeral drawings by the start of the main event on Saturday, which is must-go as it features live music, vendor booths and food trucks.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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